Documentary Film:
A Bibliography of Books and Articles
in the UC Berkeley Libraries













General Works

Articles and Books on Individual filmmakers: A-M
Articles and Books on Individual filmmakers: N-Z
listing of classic documentary works in MRC. This listing also includes references to books and articles about individual documentary filmmakers.

Essay on the General Post Office Film Unit (British Documentary Movement)

General Works


Alexander, William
Film on the Left: American Documentary Film From 1931 to 1942 / William Alexander. Princeton, N.J.: Princeton University Press, c1981.
UCB Main PN1995.9.D6 .A38
Moffitt PN1995.9.D6 .A38

Alter, Nora M.
Projecting history: German nonfiction cinema, 1967-2000 Ann Arbor: University of Michigan Press, c2002.
MAIN: PN1995.9.D6 A39 2002

Arthur, Paul
"But Enough About You: First-person documentaries." Film Comment v. 42 no. 4 (July/August 2006) p. 24-5
"First-person documentary films have become increasingly common. Once an aesthetic stronghold of supposedly objective representations of reality, nonfiction moviemaking used to base its guarantees of authority and veracity on a universalized "we." Now, the most accurate, not to mention most compelling, cine-actualities are personal as well as explicitly partial, fragmentary, provisional, and often colloquial. These filmmakers are conveying "truths" that disavow comprehensive knowledge or higher ethical standards." [Art Index]

Arthur, Paul
"Essay Questions: From Alain Resnais to Michael Moore: Paul Arthur Gives a Crash Course in Nonfiction Cinema's Most Rapidly Evolving Genre." Film Comment 39:1 [January-February 2003] p. 58-62
UC users only

Arthur, Paul.
"Feel the Pain." Film Comment. Sep/Oct 2004. Vol. 40, Iss. 5; pg. 47, 4 pgs
UC users only
First-person documentaries are soothing the angst of their makers. It is embraced as a therapy intended to help their makers clarify, and ultimately begin to resolve, psychosocial problems often involving familial tension or trauma. Here, Arthur enumerates several first-person documentaries by several filmmakers.

Aufderheide, Patricia.
"The Camera as Conscience: How Social Issues Inspire Moving Documentaries. Chronicle of Higher Education v45, n9 (Oct 23, 1998):B7 (2 pages).

Aufderheide, Patricia.
Documentary film : a very short introduction Oxford ; New York : Oxford University Press, c2007.
MOFF: PN1995.9.D6 A94 2007
Table of contents only http://www.loc.gov/catdir/toc/ecip0717/2007018114.html

Aufderheide, Patricia.
"Public Intimacy: The Development of First-person Documentary." Afterimage v25, n1 (July-August, 1997):16 (3 pages).
UC users only

Baddeley, Walter Hugh.
The Technique of Documentary Film Production. With a pref. by Paul Rotha. London, New York, Focal Press [1966, c1963]. Series title: Library of communication techniques.
UCB Main PN1995.9.D6 B3

Baddeley, W. Hugh (Walter Hugh)
The technique of documentary film production. With a pref. by Paul Rotha. London, New York, Focal Press [1966, c1963]
Main (Gardner) Stacks PN1995.9.D6 B3

Baker, Maxine.
Documentary in the digital age Oxford; Burlington, MA: Focal Press, 2006.
MAIN: PN1995.9.D6 B35 2006

Barbash, Ilisa
Cross-cultural Filmmaking: A Handbook for Making Documentary and Ethnographic Films and Videos / Ilisa Barbash and Lucien Taylor; technical illustrations by Sandra Murray; figure drawings by Chad Vaughan. Berkeley: University of California Press, c1997.
UCB Anthropol GN347 .B37 1997 Reference
Available online - UC users only

Barnouw, Erik
Documentary: A History of the Non-fiction Film / Erik Barnouw. 2nd rev. ed. New York: Oxford University Press, 1993.
UCB Main PN1995.9.D6 B37 1993
Contents via Google Books

Barnouw, Erik
Documentary: A History of the Non-fiction Film / Erik Barnouw. Rev. ed. Oxford [Oxfordshire]; New York: Oxford University Press, 1983.
UCB Anthropol PN1995.9.D6 B37 1983
UCB Main PN1995.9.D6 B37 1983
UCB Media Ctr PN1995.9.D6 B37 1983

Barnouw, Erik
Documentary: A History of the Non-fiction Film / Erik Barnouw. New York: Oxford University Press, 1974.
UCB Main PN1995.9.D6 B371
UCB Moffitt PN1995.9.D6 B37

Baron, Jaimie
"Contemporary Documentary Film and "Archive Fever": History, the Fragment, the Joke." Velvet Light Trap: A Critical Journal of Film & Television; Fall2007, Issue 60, p13-24, 12p,
Available online - UC users only
This article presents an examination of the relationship between the documentary and the archive. It aims to uncover the ways in which documentaries draw viewers into the archives, raising questions about their relationship with the historical memory that artifacts in the archive seem to promise. Borrowing from the complementary and competing historiographical methodologies of deconstruction and New Historicism, it examines four recent documentaries that complicate viewers' understanding of what constitutes an archive and their access to it. It argues that each archival fragment in these films can be seen as a metonym.

Barsam, Richard Meran.
Nonfiction Film; A Critical History. Foreword by Richard Dyer MacCann. [1st ed.]. New York, Dutton, 1973.
UCB Main PN1995.9.D6 B38
UCB Moffitt PN1995.9.D6 B38

Barsam, Richard Meran.
Nonfiction Film: A Critical History / Richard M. Barsam. Rev. and expanded. Bloomington; Indiana University Press, c1992.
UCB Main PN1995.9.D6 B38 1992
UCB Moffitt PN1995.9.D6 B38 1992

Beattie, Keith
Documentary screens: non-fiction film and television New York: Palgrave Macmillan, 2004.
MAIN: PN1995.9.D6 B384 2004;

Bernini, Emilio
"Politics and the documentary film in Argentina during the 1960s." Journal of Latin American Cultural Studies Volume 13, Number 2 / August 2004 Pages: 155 - 170
UC users only

Between the Sheets, in the Streets: Queer, Lesbian, and Gay Documentary
Chris Holmlund and Cynthia Fuchs, editors. Minneapolis: University of Minnesota Press, c1997.
Main Stack P96.D622.U63 1997

Beyond Document: Essays on Nonfiction Film
Edited by Charles Warren. Hanover, NH: University Press of New England, c1996.
UCB Main PN1995.9.D6 B48 1996
UCB Moffitt PN1995.9.D6 B48 1996

Birri, Fernando
"The roots of documentary realism." In: Argentine cinema / edited by Tim Barnard. Toronto: Nightwood Editions, c1986.
Main Stack PN1993.5.A7.B3761 1986

VIDEORECORDING
Black Mountain Revisited
Maryland Institute, College of Art; project director, Joe Cardarelli. [Baltimore, Md.]: Viridian Productions of the Maryland Institute, College of Art, c1990. 1 videocassette (54 min.); sd., col.; 1/2 in. VHS. Series title: Original Black Mountain series.
UCB Bancroft Motion Picture 812 D

Bloom, Peter J.
French colonial documentary : mythologies of humanitarianism / Peter J. Bloom. Minneapolis : University of Minnesota Press, c2008.
Main (Gardner) Stacks PN1995.9.D6 B59 2008

Boon, Tim.
Films of fact : a history of science in documentary films and television / Timothy Boon. London ; New York : Wallflower Press, 2008.
Main (Gardner) Stacks PN1995.9.D6 B66 2008

Brody, David
"The Social Documentary as History." Labor History; Summer83, Vol. 24 Issue 3, p394-397, 4p
UC users only

Brom, John L.
The Pitiless Jungle / by John L. Brom; translated by Oliver Coburn. London: Mayflower, 1955.
UCB Main PN1997.B7 B7

Bromley, Carl.
"While the Academy Slept; The strange career of the documentary Oscar." The Nation, April 2, 2001 v272 i13 p40

Brownlow, Kevin.
The War, the West, and the Wilderness / Kevin Brownlow. 1st ed. New York: Knopf; distributed by Random House, 1979, c1978.
UCB Main PN1993.5.U6 .B76 1979
UCB Moffitt PN1993.5.U6 .B76

Brunner, Edward.
"Ersatz Truths: Variations on the Faux Documentary." Postmodern Culture: An Electronic Journal of Interdisciplinary Criticism Postmodern Culture, Volume 8, Number 2, January 1998
UC users only

Bruzzi, Stella
New documentary: a critical introduction / Stella Bruzzi. London; New York: Routledge, 2006.
Table of contents http://www.loc.gov/catdir/toc/ecip069/2006006456.html
MAIN: PN1995.9.D6 B78 2006
MOFF: PN1995.9.D6 B78 2006
Main Stack PN1995.9.D6.B78 2000[earlier edition]
Moffitt PN1995.9.D6.B78 2000 [earlier edition]

Bryant, Marsha
Auden and Documentary in the 1930s / Marsha Bryant. Charlottesville: University Press of Virginia, 1997.
UCB Main PR6001.U4 Z625 1997

Bullert, B. J.
Public television; politics and the battle over documentary film / B.J. Bullert. New Brunswick, N.J.; Rutgers University press, c1997. Communications, media, and culture.
Electronic version (UC users only)
Main Stack HE8700.79.U6.B85 1997

Candid eyes: essays on Canadian documentaries
Edited by Jim Leach and Jeannette Sloniowski. Toronto; Buffalo: University of Toronto Press, c2003.
Main Stack PN1995.9.D6 C362 2003

Carroll, Noel.
"Nonfiction Film and Postmodernist Skepticism." In: Post-Theory: Reconstructing Film Studies. Edited by David Bordwell and Noel Carroll. pp: 283-306. Madison: University of Wisconsin Press, c1996. Wisconsin studies in film
Main Stack PN1994.P6565 1996

Casebier, Allan.
"Idealist and Realist Theories of the Documentary." Post Script: Essays in Film and the Humanities 6.1 (Fall 1986): 66-75.

Chanan, Michael.
"The documentary in the Revolution." In: Cuban cinema / Michael Chanan. Minneapolis: University of Minnesota Press, c2004.
Main Stack PN1993.5.C8.C48 2004
PFA PN1993.5.C8.C45 2004

Chris, Cynthia
Watching wildlife Minneapolis: University of Minnesota Press, c2006.
MAIN: PN1995.9.A5 C47 2006; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip063/2005033456.html

Chu, Yingchi.
Chinese documentaries: from dogma to polyphony London; New York: Routledge, 2007.
MAIN: PN1995.9.D6 C48 2007; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip075/2006039265.html

Cinematographic Theory and New Dimensions in Ethnographic Film
Edited by Paul Hockings and Yasuhiro Omori. Osaka; National Museum of Ethnology, 1988. Series title: Senri ethnological studies no. 24.
UCB Anthropol GN347 .C56 1988

Collecting visible evidence
Jane M. Gaines and Michael Renov, editors. Minneapolis: University of Minnesota Press, c1999. Visible evidence; v. 6
Papers from three annual conferences held beginning in 1993.
Main Stack PN1995.9.D6.C535 1999

Cooper, Sarah
Selfless cinema?: ethics and French documentary Oxford: Legenda, 2006.
MAIN: PN1995.9.D6 C66 2006

Corless, K.
"Documentaries: Thinking outside the box." [Includes an interview with Nick Broomfield]. Sight & Sound v. ns17 no. 1 (January 2007) p. 30-1
UC users only
"Part of a special section on contemporary British cinema. The longstanding and close-knit relationship between British television and documentaries has been both a blessing and a curse. Although the likes of Cutting Edge and True Stories on Channel 4 and the BBC's Modern Times have served as breeding-grounds for exciting, experimental documentary-makers, the ten commissioning outlets in Britain have recently shrunk to around two. Furthermore, although More4 originally promised a space for idiosyncratic authored documentaries, the commitment to broadcasting British work seems to have waned, and Channel 4's British Documentary Film Foundation, which was set up to make development funds available, has been criticised as being financially inadequate. However, new modes of distribution--a growing number of festivals dedicated to documentary film, and the affordability of digital technologies--should encourage a more adventurous aesthetic in the field of documentary filmmaking." [Art Index]

Corner, John
The art of record: a critical introduction to documentary / John Corner. Manchester; New York: Manchester University Press; New York, NY, USA: Distributed exclusively in the USA and Canada by St. Martin's Press, 1996.
Main Stack PN1995.9.D6.C57 1996

Corner, John.
"Documenting the political: some issues." Studies in Documentary Film; 2009, Vol. 3 Issue 2, p113-129, 17p
UC users only

Corner, John.
"'Documentary' in Dispute." International Journal of Cultural Studies 4.3 (September 2001): 352-59.

Corless, Kieron
"Documentaries: Thinking outside the box" (Includes an interview with Nick Broomfield)Sight & Sound v. ns17 no. 1 (January 2007) p. 30-1
UC users only
"Part of a special section on contemporary British cinema. The longstanding and close-knit relationship between British television and documentaries has been both a blessing and a curse. Although the likes of Cutting Edge and True Stories on Channel 4 and the BBC's Modern Times have served as breeding-grounds for exciting, experimental documentary-makers, the ten commissioning outlets in Britain have recently shrunk to around two. Furthermore, although More4 originally promised a space for idiosyncratic authored documentaries, the commitment to broadcasting British work seems to have waned, and Channel 4's British Documentary Film Foundation, which was set up to make development funds available, has been criticised as being financially inadequate. However, new modes of distribution--a growing number of festivals dedicated to documentary film, and the affordability of digital technologies--should encourage a more adventurous aesthetic in the field of documentary filmmaking." [Art Index]

Cunningham, Megan.
The art of the documentary: ten conversations with leading directors, cinematographers, editors, and producers Berkeley, CA: New Riders, 2005.
MAIN: PN1995.9.D6 C75 2005

Curtin, Michael.
Redeeming the Wasteland: Television Documentary and Cold War Politics. New Brunswick, New Jersey: Rutgers University Press, 1995.
Main Stack PN1992.8.D6.C87 1995
Moffitt PN1992.8.D6.C87 1995

Cussler, Margaret.
Not By a Long Shot; Adventures of a Documentary Film Producer. New York, Exposition Press [1951].
UCB Main PN1995.9.D6 C8
NRLF $B 120 656 Type EXP NRLF for loan details.

Cvetkovich, Ann
"In the Archives of Lesbian Feeling: Documentary and Popular Culture." Camera Obscura - Volume 17, Number 1, 2002 - Article
UC users only

Davidson, David.
"Depression America and the Rise of the Social Documentary Film." Chicago Review 34.1 (Summer 1983): 69-88.

A directory of Indian documentary
Compiled & edited by Sanjit Narwekar.Mumbai: Mumbai International Film Festival for Documentary, Short & Animation Films, 1998.
MAIN: PN1995.9.D6 D5 1998;

Docu-scene, India
Edited by Opender Chanana. Bombay: Indian Documentary Producers' Association: Films Division, [1987].
UCB Main PN1995.9.D6 D531 1987

Documentary and the Mass Media
Editor, John Corner. London; Baltimore, Md., U.S.A.: E. Arnold, 1986. Series title: Stratford-upon-Avon studies. Second series.
UCB Main P90 .D621 1986

The Documentary Conscience: A Casebook in Film Making
Alan Rosenthal. Berkeley: University of California Press, c1980.
UCB Main PN1995.9.D6 .D55
UCB Moffitt PN1995.9.D6 .D55

Documentary film classics produced by the United States government
Washington : National Audiovisual Center, [1979?]
Main (Gardner) Stacks PN1995.9.D6 .D6

Documentary film--the age gone, an age to come? : records of Documentary Film Symposium held on May 3-9, 1997 in Jurmala, Latvia
Edited by Andrejs Apsitis ; translation into English, Yelena Doroshenko ; into Russian, Anna Apsite]. Riga : European Documentary Film Symposiums, 1999.
Main (Gardner) Stacks PN1995.9.D6 D63 1997

"Documentary Now." Velvet Light Trap, vol. 60, pp. 1-90, Fall 2007
UC users only

"Documentary, the digital age's first casualty" In: Cinema futures: Cain, Abel or cable?: the screen arts in the digital age / edited by Thomas Elsaesser and Kay Hoffmann. Amsterdam: Amsterdam University Press, c1998.
Main Stack PN1994.C5214 1998

Docufictions: essays on the intersection of documentary and fictional filmmaking.
Edited by Gary D. Rhodes and John Parris Springer. Jefferson, N.C.: McFarland & Co., c2006.
MAIN: PN1995.9.D62 D63 2006
Moffitt PN1995.9.D62.D63 2006
PFA PN1995.9.D62.D63 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0512/2005012767.html

"Documentary." In: The television genre book / edited by Glen Creeber ; associate editors, Toby Miller and John Tulloch. Houndmills, Basingstoke, Hampshire ; New York, NY : Palgrave Macmillan on behalf of the British Film Institute, 2008.
Main (Gardner) Stacks PN1992.55 .T45 2008

The Documentary Film Movement: An Anthology
Edited and introduced by Ian Aitken. Edinburgh: Edinburgh University Press, c1998.
Main Stack PN1995.9.D6.D56 1998

Documenting the Documentary: Close Readings of Documentary Film and Video / Wayne State University Press, c1998.
Main Stack PN1995.9.D6D58 1998
Moffitt PN1995.9.D6D58 1998

Dornfeld, Barry
"Putting American public television documentary in its places." In: Media worlds [electronic resource]: anthropology on new terrain / edited by Faye D. Ginsburg, Lila Abu-Lughod, and Brian Larkin. Berkeley: University of California Press, c2002
Full-text of this book available (eScholarship. Restricted to UC campuses)

Dorst, John D.
"Which Came First, the Chicken Device of the Textual Egg? Documentary Film and the Limits of the Hybrid Metaphor." Journal of American Folklore. 112.445 (Summer 1999): 268-81.
"Though hybridity is certainly a productive theoretical metaphor, there are limits to its usefulness. In our postmodern, "telectronic" culture, we are surrounded by examples of boundary confusion between text-generating devices and texts themselves. The organic metaphor of hybridity is of limited value in theorizing these conflations. This article considers examples of such collapse between text and "apparatus" in the documentary films of Errol Morris, particularly his 'folklife" portrait of a small town in Florida." [Expanded Academic Index]

Double take: looking at the documentary
Edited by Raqs Media Collective. [New Delhi]: Foundation for Universal Responsibility of His Holiness the Dalai Lama in association with the Public Service Broadcasting Trust, 2000.
Main Stack PN1995.9.D6.D64 2000
India's quest: the films: an experiment / Rajiv Mehrotra -- Playing with flux - constructing an argument in documentary films / Sanjay Kak -- "Can you cut it down?": commissioning conversations / Ruchir Joshi -- A frame of mind - researching documentaries / Raqs Media Collective -- The other eye - on documentary cinematography / Ranjan Palit -- Listening to sound / Samina Mishra -- Sync-sound - technology, aesthetics & problems / Indrajit Neogi -- "And sound tracks merely happen ...": metaphors, mixers & microphones / Uma Shankar -- "Scrambling with many things to say...": notes from the editing room / Sameera Jain -- Snakes & butterflies: the natural history of the rough-cut / Ruchir Joshi -- documentary.doc / Anita Roy -- On watching documentaries / Mukul Kesavan -- Talking to the audience / Rajeev Bhargava -- The hum of conversations / Shuddhabrata Sengupta. Collection of essays on the thoughts and reflections of filmmakers, technicians etc.

Dovey, Jon.
Freakshow: First Person Media and Factual Television. Sterling, Virginia: Pluto Press, 2000
Full text available online (UCB users only)
Main Stack PN1992.8.R43.D68 2000

Druick, Zoë.
Projecting Canada: government policy and documentary film at the National Film Board of Canada Montreal; Ithaca: McGill-Queen's University Press, c2007.
MAIN: PN1993.5.C2 D78 2007

Druick, Zoë.
""Reaching the multimillions" : liberal internationalism and the establishment of documentary film." In: Inventing film studies / Lee Grieveson and Haidee Wasson, editors. Durham : Duke University Press, 2008.
Main (Gardner) Stacks PN1993.8.U5 G75 2008

Dunne, Philip
"The Documentary and Hollywood." Hollywood Quarterly, Vol. 1, No. 2 (Jan., 1946), pp. 166-172
UC users only

Eitzen, Dirk.
"When Is a Documentary? Documentary as a Mode of Reception." Cinema Journal, vol. 35 no. 1. 1995 Fall. pp: 81-102.
UCB users only

Ellis, Jack C.
"American documentary in the 1950s." In: Transforming the screen, 1950-1959 / Peter Lev. New York: Charles Scribner's Sons, 2003.
Main Stack PN1993.5.U6.H55 1990 v.7

Ellis, Jack C.
The Documentary Idea: A Critical History of English-language Documentary Film and Video / Jack C. Ellis. Englewood Cliffs, N.J.; Prentice Hall, c1989.
UCB Moffitt PN1995.9.D6 E45 1989

Ellis, Jack C.
A new history of documentary film New York: Continuum, c2005.
MOFF: PN1995.9.D6 E46 2005
Table of contents http://www.loc.gov/catdir/toc/ecip0512/2005013290.html

Encyclopedia of the documentary film
Ian Aitken, editor.New York: Routledge, 2006.
Media Center: PN1995.9.D6 E53 2006
MAIN: PN1995.9.D6 E53 2006

Ethnographic Film Aesthetics and Narrative Traditions: Proceedings from NAFA 2
Edited by Peter Ian Crawford and Jan Ketil Simonsen. Aarhus [Denmark]: Intervention Press in association with the Nordic Anthropological Film Association, 1992.
UCB Anthropol GN347 .E84 1992

Film and Propaganda in America: A Documentary History
Editor-in-chief, David Culbert. New York; Greenwood Press, 1990-1991. Series title: Documentary reference collections.
UCB Main PN1993.5.U6 F47 1990 v.1-4 (1990-1991)

Feldman, Allen.
"Faux Documentary and the Memory of Realism." American Anthropologist v100, n2 (June, 1998):494 (9 pages).
UC users only

Film and the First World War
Edited by Karel Dibbets, Bert Hogenkamp. Amsterdam; Amsterdam University Press, c1995. Series title: Film culture in transition.
NRLF B 4 090 175 Type EXP NRLF for loan details.

Film and the Historian.
London, British Universities' Film Council, 1968.
NRLF D16.255.A8F5 off campus

Film Council of America.
Sixty Years of 16mm Film, 1923-1983: A Symposium. Editorial board: Forrest Alter [and others. Evanston, Ill., 1954]. Series title: Film counselor series, no.1.
UCB Main LB1044.A2 F45 no.1

Fitzsimmons, Stephen J.; Hobart G. Osburn
"The Impact of Social Issues and Public Affairs Television Documentaries." The Public Opinion Quarterly, Vol. 32, No. 3. (Autumn, 1968), pp. 379-397.
UC users only
What are the various effects of television news documentaries on the knowledge level of the viewer; his attitudes and attitude dimensions; and his potential for changing certain behaviors? To answer such questions, the changes that occurred following exposure to television documentaries dealing with five separate topics were examined and compared. Particular attention was paid to effects that occurred irrespective of topic; the role of initial position in mediating change; and the interrelationship among changes. The personality variables of "open-mindedness" and "intelligence" were also examined.

Fraser, Nick
"In Praise of Documentaries." Critical Quarterly, vol. 43, no. 3, pp. 57-64, Fall 2001 UC users only

From Grierson to the docu-soap: breaking the boundaries
Edited by John Izod and Richard Kilborn with Matthew Hibberd. Luton, Bedfordshire, UK: University of Luton Press, c2000.
Main Stack PN1995.9.D6.F76 2000

Funari, Vicky; Taylor, Jennifer Maytorena.
"Close-knit Community: Documakers Find Strength in Shared Indie Vision, Battle." (the San Francisco documentary filmmaker community from two filmmakers' point of view)(Showbiz City: San Francisco) Variety v371, n10 (July 20, 1998):34.

Garrett, Greg
"It's everybody's war: racism and the World War Two documentary." Journal of Popular Film and Television, Summer 1994 v22 n2 p70(9)
UC users only
"American propaganda during World War II focused on defining the principles of democracy, emphasizing that the war was one every American should support, regardless of race or color. However, the armed forces during that conflict were still segregated, a fact that is not lost in most of the documentary films of the time. Although the main message in these films were that 'it is everybody's war,' the undertone taken always reflected the superiority of white America." [Expanded Academic Index]

Geiger, Jeffrey
"Fiction, Truth, and the Documentary Contract." In: Film analysis : a Norton reader / edited by Jeffrey Geiger and R.L. Rutsky. New York : W.W. Norton, c2005.
Moffitt PN1994 .F43814 2005

Girgus, Sam B.
America on film: modernism, documentary, and a changing America Cambridge; New York: Cambridge University Press, 2002.
MAIN: PN1995.9.U64 G57 2002

Godmilow, Jill and Shapiro, Ann-Louise
"How Real is the Reality in Documentary Film?
also in:
Producing the past: making histories inside and outside the academy / edited by Ann-Louise Shapiro. Middletown, Conn.]: Wesleyan University, c1997.
Main Stack D6.H655.B4 v.36

Goldsmith, David A.
The documentary makers: interviews with 15 of the best in the business Crans-Pr`es-Celigny: Hove: RotoVision, 2003.
MAIN: PN1995.9.D6 G65 2003

Graham, Peter
"Cinema-Verite" in France." Film Quarterly, Vol. 17, No. 4. (Summer, 1964), pp. 30-36.
UC users only

Grenville, J. A. S. (John Ashley Soames)
Film as History: the Nature of Film Evidence, an inaugural lecture delivered in the University of Birmingham on 5th March 1970, by J. A. S. Grenville. [Birmingham, Eng., University of Birmingham, 1971].
UCB Main D16 .G81

Grierson, John
Grierson on Documentary Revised ed. London, Faber, 1966.
Moffitt PN1995.9.D6.G75 1966
Main Stack PN1995.9.D6.G751 1947 (another edition)

Griffiths, Alison
Wondrous difference: cinema, anthropology & turn-of-the-century visual culture New York: Columbia University Press, c2002.
ANTH: GN347 .G73 2002
PFA: PN1995.9.E8 G74 2002

Grindon, Leger 1949-
"Q & A: Poetics of the Documentary Film Interview." The Velvet Light Trap - Number 59, Fall 2008, pp. 4-12
UC users only

Guynn, William Howard.
A Cinema of Nonfiction / William Guynn. Rutherford: Fairleigh Dickinson University Press; London; Cranbury, NJ; Associated University Presses, c1990.
UCB Main PN1995.9.D6 G89 1989
UCB Moffitt PN1995.9.D6 G89 1989

Hampe, Barry.
Making Documentary Films and Reality Videos: A Practical Guide to Planning, Filming, and Editing Documentaries of Real Events / Barry Hampe. 1st ed. New York: Henry Holt and Company, 1997.
UCB Moffitt PN1995.9.D6 H26 1997

Hankin, Kelly.
"And Introducing. . . The Female Director: Documentaries about Women Filmmakers as Feminist Activism." NWSA Journal - Volume 19, Number 1, Spring 2007, pp. 59-88
UC users only
"Statistical and anecdotal evidence suggest that, in both the Hollywood and commercial independent film industries, female directors are not given the same support and opportunities as their male counterparts. As a result, there are a number of activist projects and organizations working to challenge and raise awareness about this inequity. This essay examines the role a new genre of documentary plays in this larger activist endeavor. Beginning in the 1990s, several documentaries emerged featuring women filmmakers of varying national, racial, and sexual identities who work in a range of film production practices. I argue that by privileging the voices and experiences of these diverse female directors--something our own feminist film scholarship tends not to do--these documentaries function as important activist texts in women's studies and media studies classrooms. Because most undergraduates are woefully ignorant about the films of female directors, let alone the avenues to and barriers against filmmaking that exist for women, these documentaries play a crucial activist role in raising awareness about the social and cultural forces shaping women directors and their films. Moreover, by modeling a spectrum of "do- it-yourself" possibilities, these documentaries encourage female students to imagine their own potential as filmmakers." [Project Muse]

Heider, Karl G.
Ethnographic Film / by Karl G. Heider. Austin: University of Texas Press, c1976.
UCB Anthropol GN347 .H441 *c2 copies
UCB Moffitt GN347 .H441

Heider, Karl G.
Seeing Anthropology: Cultural Anthropology Through Film / Karl G. Heider Boston, MA: Allyn and Bacon, c1997.
UCB Anthropol GN347 .H46 1997

Henson, Pamela M.; Terri A. Schorzman
"Videohistory: Focusing on the American Past." The Journal of American History Vol. 78, No. 2 (Sep., 1991), pp. 618-627
UC users only

Heusch, Luc de.
The Cinema and Social Science; A Survey of Ethnographic and Sociological Films. [Paris] UNESCO [1962]. Series title: Reports and papers in the social sciences; no. 16.
UCB Main PN1995.9.D6 H4
NRLF $C 30 894

Heyman, Neil M.
Western Civilization: A Critical Guide to Documentary Films / Neil M. Heyman. Westport, Conn.: Greenwood Press, 1996.
UCB Main CB245 .H45 1996

Higgins, Lynn A.
"Documentary in an Age of Terror." South Central Review - Volume 22, Number 2, Summer 2005, pp. 20-38
UC users only
"Noting that "blockbuster documentary" is no longer an oxymoron, the essay investigates the recent renaissance of documentary genres in the light of the post-9/11 American political and cultural climate. It suggests that the recent appetite for documentaries might arise from anxieties about access to reliable information about the real. In a context where more and more information is "classified," officially and unofficially commodified, or subjected to outright falsification, and where the technologies for image-manipulation are increasingly sophisticated, the filmmakers and other image-makers studied here use various rhetorical, generic, and narrative strategies to resist the replacement of reality by images. The emergence of the "making of" subgenre suggests that all images can now credibly depict is insight into how mediation works. Examples include Morgan Spurlock's Supersize Me, Iranian filmmaker Samira Makhmalbaf's contribution to the collection of short films entitled 11-9-01: September 11, Michael Moore's Fahrenheit 9/11, Art Spiegelman's In the Shadow of No Towers, Terry Gilliam's Lost in La Mancha, and Wolfgang Becker's Good Bye Lenin!." [Project Muse]

Hogan, Kathleen
""Reaping the Golden Harvest: Pare Lorentz, Poet and Filmmaker."
This website offers a beginning point for the digital preservation and presentation of these revolutionary 1930s documentary films. Focuses on The Worker's Film and Photo League and Frontier Films.

Hogarth, David
Realer than reel: global directions in documentary Austin: University of Texas Press, 2006.
MAIN: PN1995.9.D6 H56 2006; MOFF: PN1995.9.D6 H56 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0511/2005011657.html

Hogue, Peter
"Genre-busting: documentaries as movies." Film Comment, July-August 1996 v32 n4 p56(5)
UC users only
Documentary filmmaking has taken on a new style of storytelling that is usually more associated with dramatic films. Recent examples of these new types of documentaries can be seen in the narrative structures and characterization of the films 'Hoop Dreams' and 'Crumb.'

"How Real is the Reality in Documentary Film?" (Jill Godmilow, in Conversation with Ann-Lousie Shapiro)(Interview) History and Theory v36, n4 (Dec, 1997):80 (22 pages).

Hubbert, Julie
""Whatever Happened to Great Movie Music?": Cinéma Vérité and Hollywood Film Music of the Early 1970s American Music, Vol. 21, No. 2 (Summer, 2003), pp. 180-213
UC users only

Huffman, Nicole
"New Frontiers in American Documentary Film."
This website offers a beginning point for the digital preservation and presentation of these revolutionary 1930s documentary films. Focuses on The Worker's Film and Photo League.

Huggan, Graham
"Australia, America, and the changing face of nature documentary." In: Imagining Australia: literature and culture in the new new world / edited by Judith Ryan and Chris Wallace-Crabbe. Cambridge, Mass.; London: Harvard University Press: 2004.
Main Stack PR9609.6.I43 2004

Image as Artifact: The Historical Analysis of Film and Television
John E. O'Connor, editor. Malabar, Fla.: R.E. Krieger Pub. Co., 1990.
UCB Main D16.18 .I45 1990

Imagining reality: the Faber book of documentary. Rev. ed. London: Faber and Faber, 2006.
MAIN: PN1995.9.D6 I43 2006

Introduction to documentary production
[edited by Searle Kochberg]. London: Wallflower, 2002.
PFA PN1995.9.D6.I68 2002

Isenberg, Michael T.
War on Film: The American Cinema and World War I, 1914-1941 / Michael T. Isenberg. Rutherford: Fairleigh Dickinson University Press, c1981.
UCB Main D522.23 .I8

Jacobs, Lewis.
The Documentary Tradition / selected arranged, and introduced by Lewis Jacobs. 2d ed. New York: W. W. Norton, c1979.
UCB Main PN1995.9.D6 .J3 1979
UCB Moffitt PN1995.9.D6 .J3 1979 *c3 copies

Jacobs, Lewis.
The Documentary Tradition, from Nanook to Woodstock. New York, Hopkinson and Blake [1971].
UCB Moffitt PN1995.9.D6 J3
NRLF B 3 567 661 Type EXP NRLF for loan details.

Jag Mohan.
Documentary Films and National Awakening / Jag Mohan. New Delhi; Publications Division, Ministry of Information and Broadcasting, Govt. of India, 1990.
UCB Main PN1995.9.D6 J34 1990

The Japan/America Film Wars: World War II Propaganda and its Cultural Contexts
Edited by Abe Mark Nornes and Fukushima Yukio. Chur, Switzerland; Langhorne, Pa., USA: Harwood Academic Publishers, c1994. Series title: Studies in film and video v. 1.
UCB Main D743.23 .J36 1994

Jump Cut: Hollywood, Politics, and Counter Cinema
Edited by Peter Steven. New York, NY: Praeger, 1985.
UCB Main PN1995.9.E96 J81 1985
UCB Moffitt PN1995.9.E96 J8 1985

Kahana, Jonathan
Intelligence work : the politics of American documentary / Jonathan Kahana. New York : Columbia University Press, c2008.
Main (Gardner) Stacks PN1995.9.D6 K25 2008

DISSERTATION
Kahn, Lorraine.
Cinematic Collaborations: Production System and Film Structure in Documentary / by Lorraine Kahn. c1990.
NRLF PN1995.9.D6K34 1990 off campus

Katz, Robert; Katz, Nancy
"Documentary in Transition, Part I: The United States." Hollywood Quarterly, Vol. 3, No. 4. (Summer, 1948), pp. 425-433.
UC users only

Kepley, Vance; Swender, Rebecca
"Claiming the Found: Archive Footage and Documentary Practice." The Velvet Light Trap Number 64, Fall 2009
UC users only

King, Margaret J.
"The Audience in the Wilderness: The Disney Nature Films." Journal of Popular Film and Television, vol. 24 no. 2. 1996 Summer. pp: 60-68.

Klein, Walter J.
The Sponsored Film / by Walter J. Klein. New York; Hastings House, c1976.Series title: Communication arts books.
UCB Bus&Econ HF5844 .K541 1976 WITHDRAWN

Kline, Mary-Jo.
A guide to documentary editing Baltimore: Johns Hopkins University Press, c1987.
MAIN: Z113.3 .K551 1987; Storage Info: B 4 033 478

LaMarre, Heather L.; ; Landreville, Kristen D.
"When is Fiction as Good as Fact? Comparing the Influence of Documentary and Historical Reenactment Films on Engagement, Affect, Issue Interest, and Learning. Mass Communication & Society, Oct-Dec2009, Vol. 12 Issue 4, p537-555, 19p
UC users only

Landesman, Ohad
"In and out of This World: Digital Video and the Aesthetics of Realism in the New Hybrid Documentary." Studies in Documentary Film, vol. 2, no. 1, pp. 33-45, 2008
UC users only

Lane, Jim
The autobiographical documentary in America Madison: University of Wisconsin Press, c2002.
UCB MAIN: CT25 .L27 2002

Lane, Jim.
"Notes on Theory and the Autobiographical Documentary Film in America." Wide Angle, 15(3), 21-36.(1993)

Langer, Mark
"Non-Fiction Film." Film History, Vol. 9, No. 2, Non-Fiction Film (1997), p. 131
UC users only

Lay, Samantha.
British social realism: from documentary to Brit-grit London: Wallflower, 2002.
UCB MAIN: PN1995.9.D6 L39 2002

Lesage, Julia (ed. and introd.)
"New Worlds of Documentary." Jump Cut: A Review of Contemporary Media, vol. 48, pp. (no pagination), Winter 2006
UC users only

Leuthold, Steven.
"Native American Documentary: An Emerging Genre?" Film Criticism v22, n1 (Fall, 1997):74 (16 pages).
UC users only
Documentary films made by and/or about Native Americans are beginning to form the symbolic and situational precedents for genre. Development of Native American documentaries is too recent to produce regional styles, but many such films are linked by their common considerations of cultural preservation, the relationships of Native Americans to Western institutions, and how one generation maintains continuity with another.

Leuthold, Steven.
Indigenous Aesthetics: Native Art, Media, and Identity / / by Steven Leuthold. 1st ed. Austin: University of Texas Press, 1998.
Main Stack E59.A32 L48 1998

Leuthold, Steven.
"Native Media's Communities." (Native Americans) American Indian Culture and Research Journal v21, n2 (Spring, 1997):165 (31 pages).
Native Americans have become increasingly aware of the potential uses of visual media technologies in depicting their culture. They, however, continue to be suspicious of whites' depiction of their community life as the latter tend to misunderstand the social features they deemed important and produce stereotypes incompatible with the Indians' self perceptions. Alternatively, the natives have started to produce their own video documentaries in which the depictions of their culture and beliefs are totally in their control.

Leuthold, Steven.
"Rhetorical Dimensions of Native American Documentary." Wicazo Sa Review - Volume 16, Number 2, Fall 2001, pp. 55-73 -
UC users only

Levasseur, Audrey
"Film and Video Self-Biographies." Biography: An Interdisciplinary Quarterly, 2000 Winter, 23:1, 176-92.
UC users only

Levin, G. Roy.
Documentary Explorations; 15 Interviews with Film-makers [by] G. Roy Levin. [1st ed.]. Garden City, N.Y., Doubleday, 1971.
UCB Moffitt PN1995.9.D6 L47

Leyda, Jay
Films Beget Films. [1st American ed.]. New York, Hill and Wang [1964].
UCB Moffitt PN1996 .L45 1964

Leyda, JayFilms Beget Films / Jay Leyda. London: Allen & Unwin, 1964.
UCB Main PN1996 .L45

Loizes, Peter
Innovation in Ethnographic Film: From Innocence to Self-consciousness, 1955-85 / Peter Loizos. Chicago; University of Chicago Press, 1993.
UCB Anthropol GN347 .L65 1993

Lopate, Phillip
"In Search of the Centaur: The Essay-Film." The Threepenny Review, No. 48 (Winter, 1992), pp. 19-22
UC users only

Lovell, Alan.
Studies in Documentary [by] Alan Lovell and Jim Hillier. New York, Viking Press [1972]. Series title: Cinema one, 21.
UCB Moffitt PN1995.9.D6 L61

Lovell, Alan.
Studies in Documentary [by] Alan Lovell and Jim Hillier. London, Secker and Warburg [for] the British Film Institute, 1972. Series title: Cinema one, 21.

Low, Rachael.
Documentary and Educational Films of the 1930's / by Rachael Low. London: G. Allen & Unwin; New York: distributed by R. R. Bowker, 1979. Series title: Low, Rachael The history of the British film.
UCB Main PN1993.5.G7 .L6 v.5:2

MacCann, Richard Dyer.
The People's Films; A Political History of U.S. Government Motion Pictures. New York, Hastings House [1973]. Series title: Studies in public communication. Series title: Communication arts books.
UCB Main PN1995.9.D6 M31
UCB Moffitt PN1995.9.D6 M3

MacDonald, Myra
"Performing memory on television: documentary and the 1960s." Screen (London, England) v. 47 no. 3 (Autumn 2006) p. 327-45
"Focusing on recollections of the 1960s, the writer examines how the performance of memory on British television is inflected by televisual codes and conventions that act both to vivify but also to constrict "memory work." In line with television's greater interest in the everyday, she concentrates on its production of "cultural memory" of the 1960s, and in particular on the cultural negotiation through which various stories compete for a place in history. Investigating memories of the 1960s that come from television documentaries in the 1990s, she considers the performing of television memories in terms of narrational style, bodily expressiveness, physical location, and distance or proximity to the object of recollection. She then discusses how television documentary's use of commentary and editing practices, particularly when memories are interlaced with archive footage or images, either constrains or opens up the interrogative capacity of witnesses' memory work." [Art Index]

Making history: art and documentary in Britain from 1929 to now. London: Tate Publishing, 2006.
MAIN: N72.M6 M335 2006
Published on the occasion of the exhibition: Making history: art and documentary in Britain from 1929 to now, held at Tate Liverpool, 3 February-23 April 2006.

Mamber, Stephen
"Cinema-Vérité in America, Part I." Screen 1972 13: 79-108
UC users only

Mamber, Stephen
"Cinema-Vérité in America, Part II -- Direct Cinema and the Crisis Structure Screen 1972 13: 114-136;
UC users only

Marks, Dan.
"Ethnography and Ethnographic Film: From Flaherty to Asch and After." (visual ethnographers Robert Flaherty and Timothy Asch) American Anthropologist v97, n2 (June, 1995):339 (9 pages).
Visual ethnographers Robert Flaherty and Timothy Asch's ethnographic films reflected and helped develop the methodology and themes of ethnographic research. Films such as Flaherty's 'Nanook of the North' and Asch's 'The Ax Fight' presented new approaches in ethnographic film production and subject representation. Asch's film also prefigured other ethnographers' attempts to present explanations of social data and applying such interpretations to higher-order analytical problems.

Martin, Thibault
"From documentary to social sciences: how the issue of representing the other emerges." In: Screening culture: constructing image and identity / edited by Heather Norris Nicholson. Lanham, Md.: Lexington Books, c2003.
Main Stack PN1995.9.I49.S38 2003

McCullaugh, Jim.
"Documentaries' Time is Now." (commercial appeal of documentary films) Billboard v104, n37 (Sept 12, 1992):57 (2 pages).

McEnteer, James
Shooting the truth: the rise of American political documentaries Westport, Conn.: Praeger Publishers, c2006.
MAIN: PN1995.9.D6 M38 2006

Miller, Mitchell
"Frame up."Art Review (London, England) v. 3 no. 11 (November/December 2005) p. 58-9
"A new breed of experimental documentary makers is tearing the genre's conventions to shreds. An abiding theme of their experimental documentaries--a loose term that includes "found footage" films, media jamming, and abstract films--is the documentary itself, particularly the contradictions at the heart of what John Grierson called the "creative treatment of actuality." However, while new perspectives are being brought to the craft of documentary, such experimentation continues to be contentious when it confronts our expectations over how a good documentary should be made. A number of recent experimental documentaries are discussed here, including Werner Herzog's Grizzly Man and Pirjo Honkasalo's The 3 Rooms of Melancholia." [Art Index]

Mining the home movie : excavations in histories and memories
Edited by Karen L. Ishizuka and Patricia R. Zimmermann. Berkeley : University of California Press, c2008.
PFA PN1995.8.M56 2008
Table of contents only http://www.loc.gov/catdir/toc/ecip073/2006035372.html

Mitman, Gregg
Reel Nature: America's Romance with Wildlife on Film. Cambridge, Massachusetts and London, England: Harvard University Press, 1999,
MAIN: PN1995.9.A5 M58 1999

Mould, David H. (David Harley)
American Newsfilm, 1914-1919: The Underexposed War / David H. Mould. New York; Garland Pub., 1983. Series title: Dissertations on film.
Moffitt D522.23 .M68 1983

Musser, Charles (ed. and introd.)
"Documentary before Verite." Film History: An International Journal, vol. 18, no. 4, pp. 355-439, 2006 UC users only

Narwekar, Sanjit
Films Division and the Indian Documentary / Sanjit Narwekar. New Delhi: Publications Division, Ministry of Information and Broadcasting, Govt. of India, 1992.
NRLF B 4 080 993 Type EXP NRLF for loan details.

New Challenges for Documentary 2nd ed.
Edited by Alan Rosenthal. Manchester, UK; New York: Manchester University Press; New York: Distributed in the USA by Palgrave, 2005.
Main Stack PN1995.9.D6.N377 2005
PFA PN1995.9.D6.N48 2005
Contents via Google Books">Contents via Google Books

New Challenges for Documentary
Edited by Alan Rosenthal. Berkeley; University of California Press, c1988.
UCB Main PN1995.9.D6 N3771 1988
UCB Moffitt PN1995.9.D6 N377 1988

Nichols, Bill.
Blurred Boundaries: Questions of Meaning in Contemporary Culture / Bill Nichols. Bloomington: Indiana University Press, c1994.
UCB Main PN1995.9.D6 N538 1994
UCB Moffitt PN1995.9.D6 N538 1994

Nichols, Bill.
"Documentary Film and the Modernist Avant-Garde." Critical Inquiry Vol. 27, No. 4 (Summer, 2001), pp. 580-610
UC users only

Nichols, Bill.
"Documentary reenactments : a paradoxical temporality that is not one shapes of modernity." In: Given world and time : temporalities in context / edited by Tyrus Miller. Budapest ; New York : CEU Press, 2008.
Main (Gardner) Stacks BD638 .G25 2008

Nichols, Bill.
"Documentary Reenactment and the Fantasmatic Subject." Critical Inquiry, vol. 35, no. 1, pp. 72-89, Autumn 2008
UC users only

Nichols, Bill.
"History, Myth, and Narrative in Documentary." Film Quarterly Vol. 41, No. 1 (Autumn, 1987), pp. 9-20
UC users only

Nichols, Bill.
Introduction to documentary Bloomington, Ind.: Indiana University Press, c2001.
MAIN: PN1995.9.D6 N539 2001
Contents via Google Books">Contents via Google Books

Nichols, Bill.
Representing Reality: Issues and Concepts in Documentary / Bill Nichols. Bloomington: Indiana University Press, c1991.
UCB Main PN1995.9.D6 N54 1991
UCB Moffitt PN1995.9.D6 N54 1991

Nichols, Bill.
"What Current Documentaries Do and Can't Do." The Velvet Light Trap - Number 59, Fall 2008, pp. 85-86
UC users only

Nisbet, Matthew C.; Aufderheide, Patricia.
"Documentary Film: Towards a Research Agenda on Forms, Functions, and Impacts." Mass Communication & Society, Oct-Dec2009, Vol. 12 Issue 4, p450-456, 7p
UC users only

Nonfiction Film: Theory and Criticism
Edited by Richard Meran Barsam. New York: Dutton, c1976.
UCB Main PN1995.9.D6 N571

Nonfiction Film: Theory and Criticism
Edited by Richard Meran Barsam. New York: Dutton, c1976.
UCB Main PN1995.9.D6 N571 1976a

Nornes, Markus.
Japanese documentary film: the Meiji era through Hiroshima. Minneapolis: University of Minnesota Press, c2003.
Main PN1995.9.D6 N59 2003

O'Brien, Harvey.
The real Ireland : the evolution of Ireland in documentary film / Harvey O'Brien. Manchester ; New York : Manchester University Press ; New York : Distributed exclusively in the USA by Palgrave, 2004.
Main (Gardner) Stacks PN1993.5.I85 O27 2004

Okada, Jun
"The PBS and NAATA Connection: Comparing the Public Spheres of Asian American Film and Video." The Velvet Light Trap - Number 55, Spring 2005, pp. 39-51
UC users only

Orgeron, Marsha; Orgeron, Devin.
"Familial Pursuits, Editorial Acts: Documentaries after the Age of Home Video." The Velvet Light Trap - Number 59, Fall 2008, pp. 47-62
UC users only
"This article argues that the increased usage of home movies and home videos in contemporary documentary forces documentary theorists and critics to consider the ways such footage works to create narrative and depict history and memory. It presents a brief history of the shift from home movies to home video, arguing that home movies, which required planning for adequate light and more staging, were meant to capture the ideals of American family life and that home videos allow the family's decay and conflict to be captured. It argues that home videos often capture what was never meant to be recorded. The ethical question of what boundaries exist for the home videographer-turned-documentarian and for the documentarian assembling home video footage is addressed." [Ebsco]

Pallister, Janis L.
French-speaking women documentarians: a guide New York: P. Lang, c2005.
MAIN: PN1998.2 .P277 2005
Table of contents http://www.loc.gov/catdir/toc/ecip057/2005002302.html

Papazian, Elizabeth Astrid.
Manufacturing truth : the documentary moment in early Soviet culture DeKalb : Northern Illinois University Press, c2009.
MAIN: PG3026.S58 P37 2009

Picart, Caroline Joan (Kay), ed.
The Holocaust film sourcebook Westport, Conn.: Praeger, c2004.
v. 1. Fiction -- v. 2. Documentary and propaganda.
Media Center PN1995.9.H53.H66 2004

Pilgert, Henry P.
The History of the Development of Information Services Through Information Centers and Documentary Films. [Bonn?] Historical Division, Office of the Executive Secretary, Office of the U. S. High Commissioner for Germany, 1951.
NRLF B 4 135 913 Type EXP NRLF for loan details.

Pingree, Geoffrey B.
"Modern anxiety and documentary cinema in Republican Spain." In: Visualizing Spanish modernity / edited by Susan Larson and Eva Woods. Oxford; New York: Berg, 2005.
Main Stack DP203.5.V58 2005
Table of contents http://www.loc.gov/catdir/toc/ecip0515/2005017026.html

Plantinga, Carl R.
"American documentary in the 1980s." In: A new pot of gold: Hollywood under the electronic rainbow, 1980-1989 / Stephen Prince. Berkeley: University of California Press, [c2002].
MAIN: PN1993.5.U6 H55 1990 v.10
Bus & Econ PN1993.5.U6.H55 1994 vol. 10

Plantinga, Carl R.
Rhetoric and Representation in Nonfiction Film / Carl R. Plantinga. Cambridge, U.K.; New York, N.Y.: Cambridge University Press, 1997. Series title: Cambridge studies in film.
UCB Main PN1995.9.D6 P56 1997

Plasketes, George M.
"Rock on reel: The rise and fall of the rock culture in America reflected in a decade of rockumentaries." Qualitative Sociology Volume 12, Number 1 March 1989, 55 - 71
UC users only
This article analyzes the filmic representation of the rise and demise of the American rock/youth culture of the 1960s through several popular ldquorockumentaries.rdquo This article explores the ways in which popular film and music both reflect and define political and cultural movements in advanced industrial societies by comparing and contrasting the plots and narrative techniques of films such as Monterey Pop (1968),Woodstock (1970),Gimme Shelter (1971) andThe Last Waltz (1978).

Politics and the Media: Film and Television for the Political Scientist and Historian
Edited by M. J. Clark. 1st ed. Oxford; New York: Published for the British Universities Film Council by Pergamon Press, 1979. Series title: Audio-visual media for education and research; v. 1.
UCB Main PN1995.9.D6 .P67 1979

Ponech, Trevor.
What is Non-fiction Cinema?: On the Very Idea of Motion Picture Communication. Westview Press, 1999.
Main Stack PN1995.9.D6P683 1999

Powell, Michael.
Edge of the World / Michael Powell. London; Boston: Faber and Faber, 1990.
UCB Main DA880.F87 P6 1990

Principles of Visual Anthropology
Edited by Paul Hockings. The Hague: Mouton, 1975. Series title: World anthropology.
UCB Anthropol GN27 .P75

Pullen, Christopher
Documenting gay men: identity and performance in reality television and documentary film Jefferson, N.C.: McFarland, c2007.
MAIN: HQ76.2.U5 P85 2007;
Table of contents http://www.loc.gov/catdir/toc/ecip075/2006038029.html

Rabiger, Michael.
Directing the Documentary / Michael Rabiger. Amsterdam; Boston: Focal Press, c2004.
PFA: PN1995.9.D6 R33 2004

Rabiger, Michael.
Directing the Documentary / Michael Rabiger. 2nd ed. Boston: Focal Press, c1992.
UCB Moffitt PN1995.9.D6 R33 1992

Rabiger, Michael.
"Documentary filmmakers decide how to present compelling evidence: using film to tell a story changes nearly everything." (Moving Pictures: Television and Film)." Nieman Reports 55.3 (Fall 2001): 63(2).

Rabinowitz, Paula.
They Must be Represented: The Politics of Documentary / Paula Rabinowitz. London; New York: Verso, 1994.
UCB Main PN1995.9.D6 R34 1994
Contents via Google Books

Rabinowitz, Paula
"Medium Uncool: women Shoot Back; Feminism, Film and 1968 -- A Curious Documentary." Science and Society. 65 (1): 72-98. 2001 Spring.

Rabinowitz, Paula
"Wreckage upon Wreckage: History, Documentary and the Ruins of Memory." History and Theory, Vol. 32, No. 2. (May, 1993), pp. 119-137.
UC users only
"Documentary cinema is intimately tied to historical memory. Not only does it seek to reconstruct historical narrative, but it often functions as an historical document itself. Moreover, the connection between the rhetoric of documentary film and historical truth pushes the documentary into overtly political alignments which influence its audience. This essay describes and dissects the history and rhetoric of documentary cinema, tracing its various modes of address from the earliest moments of cinematic representation through its uses for ethnographers, artists, governments, and marginal political organizations in the present. The different uses of documentary result in a wide variety of formal strategies to persuade the audience of a film's truth. These strategies are based on a desire to enlist the audience in the process of historical reconstruction. The documentary film differentiates itself from narrative cinema by claiming its status as a truth-telling mode. However, as a filmic construction, it relies on cinematic semiosis to convince its audience of its validity and truth. By looking at the history of documentary address, this essay outlines the rhetoric of persuasion and evaluates its effectiveness. The documentary calls upon its audience to participate in historical remembering by presenting an intimate view of reality. Through cinematic devices such as montage, voice-over, intertitles, and long takes, documentary provokes its audience to new understandings about social, economic, political, and cultural differences and struggles. The films actively engage with their world; however, often viewers respond to the same devices motivating classic Hollywood narratives. Thus the genre reinforces dominant patterns of vision. Recent challenges to the emotional manipulations of documentary deconstruct its forms and conventions so that the films interrogate not only historical memory but their own investment in its recreation. Imaginative documentaries, such as Claude Lanzmann's Shoah, foreground their partial and contingent qualities, pushing viewers to question cinematic representation and its place in historical memory. Moreover, they ask audiences to think about their place in the films' meanings as well as their responsibility to the past and its interpretations." [JSTOR]

Realism and 'reality' in film and media
Edited by Anne Jerslev. Copenhagen : Museum Tusculanum Press, University of Copenhagen, 2002.
Main (Gardner) Stacks PN1995.9.R3 R43 2002
Contents via Google books

Renov, Michael
The subject of documentary Minneapolis: University of Minnesota Press, c2004.
MAIN: PN1995.9.D6 R44 2004
PFA: PN1995.9.D6 R44 2004
Table of contents http://www.loc.gov/catdir/toc/ecip0412/2003028176.html

Resha, Dave; Minett, Mark; Michael, Charlie; Burnett, Colin.
"The Role of Documentary in the Contemporary American Political Scene." Velvet Light Trap: A Critical Journal of Film & Television, Fall2007, Issue 60, p79-90, 12p
UC users only
This article introduces a series of articles highlighting the insights of several luminaries in the field of documentary scholarship regarding the role of documentary in the contemporary American political scene. The scholars were also given the opportunity to comment on the attention the public and critics give to the political potential of documentary films. They include Michael Curtin, Jeanne Lynn Hall, Ben Levin, Randolph Lewis, Betsy McLane, Bill Nichols, Diane Waldman, Janet Walker and Jerry White.

Resina, Joan Ramon.
"Historical Discourse and the Propaganda Film: Reporting the Revolution in Barcelona." New Literary History v29, n1 (Wntr, 1998):67 (18 pages).

The rhetoric of the new political documentary
Edited by Thomas W. Benson and Brian J. Snee. Carbondale : Southern Illinois University Press, c2008.
Main (Gardner) Stacks PN1995.9.D6 R495 2008
Contents: New political documentary: rhetoric, propaganda, and the civic prospect / Thomas W. Benson and Brian J. Snee -- Virtual realism and the limits of commodified : dissent in Fahrenheit 9/11 / Shawn J. Parry-Giles and Trevor Parry-Giles -- Documentary dialectics or dogmatism? Fahrenhype 9/11, Celsius 41.11, and the new politics of documentary film /Jennifer L. Borda -- Vietnam flashbacks: dueling memories of dissent in the 2004 presidential election / Roger Stahl -- Theology, politics, and the evangelical base: George W. Bush: faith in the White House / Martin J. Medhurst -- Mimesis and miscarriage in Unprecedented / Robert E. Terrill -- Talking heads rock the house: Robert Greenwald's Uncovered: the war on Iraq / Susan Mackey-Kallis -- Outfoxing the myth of the liberal media / Ronald V. Bettig and Jeanne Lynn Hall.

Rich, B. Ruby.
"Documentary Disciplines: An Introduction." Cinema Journal - 46, Number 1, Fall 2006, pp. 108-115
UC users only

Richter, Robert.
"Long-form documentaries serve a vital journalistic role: today's complexities don't fit into tidy news magazine packages. (Moving Pictures: Television and Film)." Nieman Reports 55.3 (Fall 2001): 59(2).
UC users only

Roberts, Graham.
Forward Soviet!: History and Non-fiction Film in the USSR. I.B. Tauris; In the United States of America and in Canada distributed by St. Martin's Press, 1999.
Main Stack PN1995.9.D6R6 1999

"The Role of Documentary in the Contemporary American Political Scene." Velvet Light Trap, vol. 60, pp. 79-90, Fall 2007
UC users only

Rollins, Peter
"Ideology and Rhetoric: Three Films of the New Deal Era." In: Hollywood as historian: American film in a cultural context / edited by Peter C. Rollins. Lexington, Ky.: University Press of Kentucky, c1983.
Main Stack PN1995.9.H5.H64 1983
Moffitt PN1995.9.H5.H64 1983
PFA PN1995.9.H5.H64 1983

Rony, Fatimah Tobing.
The third eye: race, cinema, and ethnographic spectacle. Durham [N.C.]: Duke University Press, 1996.
ANTH: GN347 .R55 1996
MOFF: GN347 .R55 1996
ETHN: GN347 .R55 1996;

Rosenthal, Alan
The New Documentary in Action; A Casebook in Film Making. Berkeley, University of California Press, 1971.
UCB Main PN1995.9.D6 R66
UCB Moffitt PN1995.9.D6 R64 *c2 copies

Rosenthal, Alan
Writing, Directing, and Producing Documentary Films / Alan Rosenthal. Carbondale: Southern Illinois University Press, c1990.
UCB Main PN1995.9.D6 R65 1990
UCB Moffitt PN1995.9.D6 R65 1990
PFA: PN1995.9.D6 R64 1996 ref;

Rotha, Paul
Documentary Film [by] Paul Rotha. New York, W.W. Norton & Company, Inc. [1939].
NRLF $B 51 276

Rotha, Paul
Documentary Film; The Use of the Film Medium to Interpret cCreatively and in Social Terms The Life of the People as it Exists in Reality, by Paul Rotha in collaboration with Sinclair Road [and] Richard Griffith. [3d ed., rev. and enl.]. London, Faber and Faber [1952].
UCB Main PN1995.9.D6 R68 1952

Rothman, William.
Documentary Film Classics / William Rothman. Cambridge, Eng.; New York: Cambridge University Press, 1997. Series title: Cambridge studies in film.
UCB Main PN1995.9.D6 R69 1997

Rothman, William.
"Looking back and turning inward: American documentary films of the Seventies." In: Lost illusions: American cinema in the shadow of Watergate and Vietnam, 1970-1979 / David A. Cook. Berkeley: University of California Press, 2002.
MAIN: PN1993.5.U6 H55 1990 v.9
PFA PN1993.5.U6.H6 1994 vol. 9

Rowe, John Carlos
"Eye-Witness: Documentary Styles in the American Representations of Vietnam." Cultural Critique, No. 3, American Representations of Vietnam. (Spring, 1986), pp. 126-150.
UC users only

Ruby, Jay.
"Speaking For, Speaking About, Speaking With, or Speaking Alongside: An Anthropological Documentary Dilemma. (reexamination of the social role of documentary filmmakers) Journal of Film and Video v44, n1&2 (Spring-Summer, 1992):42 (25 pages).

Russell, Catherine
Experimental Ethnography: The Work of Film in the Age of Video / Catherine Russell. Durham [N.C.]: Duke University Press, 1999.
Main Stack PN1995.9.D6.R79 1999

Schlachter, Christina Tangora
"The New Transformation of the Public Sphere: Discourse through Documentary." Journal of Corporate Citizenship; Winter2009, Issue 36, p87-97, 11p
UC users only

The Search for "Reality": The Art of Documentary Filmmaking
Edited by Michael Tobias. Studio City, CA; Michael Wiese Productions, c1998.
Main Stack PN1995.9.D6.S37 1998

Sherman, Sharon R.
Documenting Ourselves: Film, Video, and Culture / Sharon R. Sherman. Lexington, Ky.: University Press of Kentucky, c1998.
UCB Main PN1995.9.D6 S494 1998

Silberman, Marc
"Post-Wall Documentaries: New Images from a New Germany?" Cinema Journal, Vol. 33, No. 2. (Winter, 1994), pp. 22-41.
UC users only

Sklar, Robert.
"Documentaries: Money, Ethics, Audience, and 'Truth.'" Chronicle of Higher Education v43, n35 (May 9, 1997):B9.
Documentary films are one of the most interesting aspect of the modern cinema scene. The genre appears to be thriving despite dwindling public financing and ethical concerns about the manipulation and exploitation of documentary subjects in the past. Recent documentaries represent a return to the historical and journalistic subjects and approaches that comprise the genre's traditional roots. Documentary venues have also shifted from college and university screenings to television, especially public television and cable services, such as the Public Broadcasting Service and Home Box Office.

"Show Us Life": Toward a History and Aesthetics of the Committed Documentary
Edited by Thomas Waugh. Metuchen, N.J.: Scarecrow Press, 1984.
UCB Main PN1995.9.D6 S5 1984
UCB Moffitt PN1995.9.D6 S5 1984

Sklar, Robert.
"Documentary, propaganda, and politics." In: A world history of film New York: Harry N. Abrams, 2002.
Main Stack PN1993.5.A1.S555 2002

Sklar, Robert.
"The new documentary." In: A world history of film New York: Harry N. Abrams, 2002.
Main Stack PN1993.5.A1.S555 2002

Slide, Anthony.
Before Video: A History of the Non-theatrical Film / Anthony Slide. New York: Greenwood Press, 1992. Series title: Contributions to the study of mass media and communications no. 35.
UCB Main TR894 .S55 1992
UCB Moffitt TR894 .S55 1992

Smith, Valerie
"The documentary impulse in contemporary U.S. African-American film." In: Black popular culture / a project by Michele Wallace; edited by Gina Dent. Seattle: Bay Press, 1992.
Main Stack N72.S6.D57 v.8

The Social Documentary in Latin America
Julianne Burton, editor. Pittsburgh: University of Pittsburgh Press, c1990. Series title: Pitt Latin American series.
UCB Main PN1995.9.D6 S57 1990
UCB Moffitt PN1995.9.D6 S57 1990

Spottiswoode, Raymond
Film and its Techniques. Illus. by Jean-Paul Ladouceur. Berkeley, University of California Press, 1951.
UCB Engin TR850 .S65
UCB Main TR850 .S65
NRLF W 128 236 Request item at UCB Bancroft Library.

Stastny, Peter.
"From Exploitation to Self-Reflection: Representing Persons with Psychiatric Disabilities in Documentary Film." Literature and Medicine - Volume 17, Number 1, Spring 1998, pp. 68-90
UC users only
"Filmmaker Stastny examines documentary films that feature persons with disabilities. The essay suggests that a "new polyvocality subverts the traditional psychiatric nomenclature by affirming a right to name personal experiences as one chooses." Making use of theoretical grids from Bill Nichols's Representing Reality and Richard M. Barsam's Non-Fiction Film---A Critical History, Stastny establishes a historical progression in documentaries from the 1930s to the present. His essay categorizes films into documentaries, medical specimens and soulful freaks, psychiatry and Nazi propaganda films, asylum films, autobiographical films, and the films in the future of psychiatry." [Project Muse]

Steel, Jayne
"The Television Documentary and the Real." Journal for the Psychoanalysis of Culture and Society - Volume 8, Number 2, Fall 2003, pp. 330-337 -
UC users only

Stott, William
Documentary expression and thirties America. New York, Oxford University Press, 1973.
GRDS: P92.U5 S75
MOFF: P92.U5 S75

Struggles for Representation: African American Documentary Film and Video
Edited by Phyllis R. Klotman and Janet K. Cutler. Bloomington: Indiana University Press, c1999.
Main Stack PN1995.9.N4.S77 1999
Pioneers of Black documentary film / Pearl Bowser -- Military rites and wrongs: African Americans in the U.S. Armed Forces / Phyllis R. Klotman -- Documenting social issues: Black journal, 1968-1970 / Tomy Lee Lott -- Eyes on the prize: reclaiming Black images, culture, and history / Elizabeth Amelia Hadley -- Paths of enlightenment: heroes, rebels and thinkers / Clyde Taylor -- Rewritten on film: documenting the artist / Janet K. Cutler -- Uptown where we belong: space, captivity, and the documentary of Black community / Mark Frederick Baker and Houston A. Baker, Jr. -- Discourses of family in Black documentary film / Valerie Smith -- Springing tired chains: experimental film and video / Paul Arthur -- Black high-tech documents / Erika Muhammad -- The "I" narrator in Black diaspora documentary / Manthia Diawara.

Stubbs, Liz.
Documentary filmmakers speakNew York: Allworth Press, c2002.
MAIN: PN1995.9.D6 S853 2002

Studies in documentary film. Bristol : Intellect, c2007-
Main (Gardner) Stacks PN1993 .S783 v.1:1-2 (2007)

Sturken, Marita.
"Reenactment, Fantasy, and the Paranoia of History: Oliver Stone's Docudramas." History and Theory v36, n4 (Dec, 1997):64 (16 pages).

VIDEORECORDING
Taking Pictures
Australian Film Finance Corporation presents a Vingan Pty Limited production; written, produced and directed by Les McLaren and Annie Stiven. New York, NY: First Run/Icarus Films, 1996. 1 videocassette (56 min.): sd. col. with b&w sequences; 1/2 in. VHS.
UCB Media Ctr VIDEO/C 4933

Tay, Sharon Lin
"Activating the Future: Political Documentaries and Media Activism." Afterimage v. 34 no. 1/2 part Special Issue (July/October 2006) p. 46-7
UC users only
"Part of a special issue on art and activism. The writer reflects on the different political work achievable by media activism and the political documentary. She asserts that one notion of media activism involves acting in the present with a view to effecting political change, which is different from the work of documentary films that look back at actual horrific events and document and dramatize postconflict situations. Regarding this difference, she considers Jane M. Gaines's question about the significance of viewing political documentaries in the absence of a struggle, and Linda Williams's exploration of the contingency of documentary truth. As an example, she compares Lynn Lee and James Leong's 2005 film Passabe, which concerns the postconflict situation in East Timor, with the documented accounts of media activism that led to Timorese independence." [Art Index]

Theorizing Documentary
Edited by Michael Renov. New York; Routledge, 1993. Series title: AFI film readers.
UCB Main PN1995.9.D6 T45 1993
Contents via Google books

Tomaselli, Keyan G.; Shepperson, Arnold.
"Course File for "Documentary Film, Visual Anthropology, and Visual Sociology."" Journal of Film and Video v49, n4 (Winter, 1997):44 (14 pages).

Trinh T. Minh-Ha
"Documentary Is/Not a Name." October, Vol. 52. (Spring, 1990), pp. 76-98.
UC users only

Truth or dare : art & documentary
Edited by Gail Pearce & Cahal McLaughlin. Bristol : Intellect, 2007.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.D6 T775 2007

Turvey, G.
"Panoramas, parades and the picturesque: the aesthetics of British actuality films, 1895-1901." Film History v. 16 no. 1 (2004) p. 9-27
UC users only
"Part of a special section on early British cinema. British actuality films between 1895 and 1901 do not represent the naive recording of raw location and actuality footage. From the beginning, early cinematography was approached with a sense of artistry and a feeling for the integrity of each specific image. A set of aesthetic principles and procedures was operating within the practice of the actuality filmmakers. These drew partly on approaches that had already been developed within photography, lantern shows, and, even earlier, in painting; and partly on characteristics that were felt to be particular to the novelty of cinematography. Consequently, even at the moment of its birth, actuality cinema was functioning with a unique and sophisticated aesthetic system, the short-lived originality of which would be rapidly eclipsed by the rise of the multishot, edited narrative film." [Art Index]

Vaughan, Dai.
For documentary: twelve essays / Dai Vaughan. Berkeley: University of California Press, c1999.
Main Stack PN1995.9.D6.V33 1999

Vertov, Dziga
Kino-eye: The Writings of Dziga Vertov / edited with an introduction by Annette Michelson; translated by Kevin O'Brien. Berkeley, Ca.: University of California Press, c1984.
UCB Main PN1995.9.D6 V44 1984
UCB Moffitt PN1995.9.D6 V44 1984 *c2 copies

Visual synergies in fiction and documentary film from Latin America
Edited by Miriam Haddu and Joa New York : Palgrave Macmillan, 2009.
Main (Gardner) Stacks PN1995.9.D62 V57 2009

Virtual voyages: cinema and travel
Jeffrey Ruoff, editor. Durham: Duke University Press, 2006.
Anthropology PN1995.9.T73.V57 2006
Main Stack PN1995.9.T73.V57 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0519/2005026240.html

Visual synergies in fiction and documentary film from Latin America
Edited by Miriam Haddu and Joanna Page. New York : Palgrave Macmillan, 2009.
PN1995.9.D62 V57 2009

Wahlberg, Malin.
Documentary time : film and phenomenology Minneapolis : University of Minnesota Press, c2008.
MAIN: PN1995.9.D6 W24 2008
Table of contents http://www.loc.gov/catdir/toc/ecip0717/2007019083.html

Walker, Janet
Trauma cinema: documenting incest and the Holocaust. Berkeley: University of California Press, c2005.
MAIN: PN1995.9.D6 W26 2005; MOFF: PN1995.9.D6 W26 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip0419/2004014327.html

Waley, H. D.
"British Documentaries and the War Effort." The Public Opinion Quarterly, Vol. 6, No. 4. (Winter, 1942), pp. 604-609.
UC users only

Ward, Paul.
Documentary: the margins of reality London: Wallflower, 2005. Short cuts (London, England)
Main Stack PN1995.9.D62.W37 2005
Moffitt PN1995.9.D62.W37 2005

Waterson, Roxana.
"Trajectories of Memory: Documentary Film and the Transmission of Testimony." History & Anthropology, Mar2007, Vol. 18 Issue 1, p51-73, 23p
UC users only

Wells, Paul
"The documentary form: personal and social 'realities'." In: An Introduction to film studies / edited by Jill Nelmes. 2nd ed. London; New York: Routledge, 1999.
Main Stack PN1994.I537 1999
PFA PN1994.I59 1999

White, Sydnye
"Documentary by Design." Cinema Journal v. 45 no. 2 (Winter 2006) p. 92-5
"Part of a special section on screenwriting in the United States. The writer discusses changes in the production of documentaries. Whereas, in the past, documentary filmmakers wrote to the subject and the story, and then used their script as a blueprint for going out with their cameras and questions and exploring the world, they now expend a lot of their creative energy writing scripts that satisfy the demands, or at least sidestep the objections, of executives, lawyers, and underwriters. During the early 1990s, everyone was happy as long as the documentary turned out to be both interesting and educational, but now the same executives wish to be briefed at every step during the process. Once a collaborative process, editing is now frequently a harried scramble in which suggestions and dialog are barked commands." [Art Index]

DISSERTATION
Widgery, Claudia J.
The Kinetic and Temporal Interaction of Music and Film: Three Documentaries of 1930's America / by Claudia Joan Widgery. 1990.
UCB Music MICROFILM.AA3177 v.1-3 (1 microfilm reel) (1990)

Winston, Brian.
"Documentary and history on film: Brian Winston looks back at some of the ways in which history has been presented on the screen, and sees the documentary based on archival footage as intrinsic to its success." History Today 56.1 (Jan 2006): 29(5).
UC users only

Wolfe, Charles.
"Historicising the 'Voice of God': The Place of Vocal Narration in Classical Documentary." Film History, Vol. 9, No. 2, Non-Fiction Film (1997), pp. 149-167
UC users only

Wolfe, Charles.
"Straight Shots and Crooked Plots: Social Documentary and the Avant-Garde in the 1930s." In: Lovers of Cinema: The First American Film Avant-Garde, 1919-1945. Edited by Jan-Christopher Horak. pp: 234-66. Madison, Wis.: University of Wisconsin Press, c1995. Wisconsin studies in film
Main Stack PN1995.9.E96.L68 1995

Wright, Basil.
The Use of the Film / Basil Wright. London: Bodley Head, 1948.Series title: New developments; no. 6.
NRLF B 3 567 539 T

Ye Lou.
"Popular Documentary Films." Beijing Review v41, n26 (June 29, 1998):28 (2 pages).
Documentary films are gaining popularity in China. The Chinese motion picture industry and the television broadcasting companies are producing more features about Chinese leaders and history. Among the leaders who have been prominently featured in documentary films are Mao Zedong, Zhou Enlai and Deng Xiaoping. Documentary films used to be shown prior to main features in Chinese cinemas until they were edged out by more commercial films. Documentary features have been revived since and are enjoying much popularity.

Individual Directors/Producers, and Film Movements

Michael Apted

The UP Series

Confino, Alon
"42 Up by Michael Apted." The American Historical Review, Vol. 105, No. 3 (Jun., 2000), pp. 1064-1065
UC users only

Confino, Alon
"35 Up by Michael Apted." The American Historical Review, Vol. 99, No. 4 (Oct., 1994), pp. 1240-1242
UC users only

Apted, Michael; Robinson, Helen Taylor
"Narratives and documentaries: An encounter with Michael Apted and his films." In: The couch and the silver screen : psychoanalytic reflections on European cinema / edited by Andrea Sabbadini. Hove ; New York : Brunner-Routledge, 2003.
Main (Gardner) Stacks PN1993.5.E8 C68 2003

Bruzzi, Stella
Seven up / Stella Bruzzi. London : BFI, 2007.
Main (Gardner) Stacks PN1992.77.S484 B78 2007

Burawoy, Michael.
"Interview with Michael Apted." Ethnography, Sep 01, 2009, Vol. 10 Issue 3 p321-25,
UC users only

Burawoy, Michael.
"Public ethnography as film: Michael Apted and the {Up!} series." Ethnography, Sep 01, 2009, Vol. 10 Issue 3 p317-19
UC users only

Diehl, William C.; Head-Dylla, Candace; Nehme, Maya; Salazar, Jose M.; Sun, Jinai.
"Michael Apted's The Up! Series as a Teaching Prompt for Understanding, Collaboration, and New Learning in a Sociology Course Setting." Teaching Sociology, Oct2009, Vol. 37 Issue 4, p402-412, 11p
UC users only

Duneier, Mitchell.
"Michael Apted's {Up!} series: public sociology or folk psychology through film?" Ethnography, Sep 01, 2009, Vol. 10 Issue 3 p341-45
UC users only

Sankoff, Gillian
"Adolescents, Young Adults, and the Critical Period: Two Case Studies from 'Seven Up'." In: Sociolinguistic variation : theories, methods, and applications / [edited by] Robert Bayley, Ceil Lu Cambridge ; New York : Cambridge University Press, 2007.
Main (Gardner) Stacks P120.V37 S643 2007

Thorne, Barrie
"The Seven Up! films Connecting the personal and the sociological." Ethnography September 2009 vol. 10 no. 3 327-340
UC users only

Alan Berliner

"Ain't Nobody's Business" Psychology of Women Quarterly, Winter78, Vol. 3 Issue 2, p215, 1p
UC users only

Alyssa Katz.
"Nobody's Business." The Nation June 9, 1997 v264 n22 p35(2)

Leonard, John
"Nobody's Business." New York June 9, 1997 v30 n22 p85(2)

Lopate, Phillip
"American family life wittily revealed." (Alan Berliner's documentary films about his own family, 'The Family Album,' 'Intimate Stranger' and 'Nobody's Business') The New York Times Jan 12, 1997 v146 s2 pH29(N) pH29(L) col 1 (35 col in)

Martin, Ann
"Filmic memories." Film Quarterly; Vol.LII nr.1 (Fall 1998); p.54-71
UCB users only
Collection of brief essays in which filmmakers, critics and scholars discuss what made them fall in love with film. Incl. essays by Gideon Bachmann, Alan Berliner, Les Blank, Kevin Brownlow, David Ehrenstein, Peter Forgacs, Philip Lopate, Chris Marker, Eliseo Subiela, John Woo and others.

Maslin, Janet
"Intimate Stranger." (New York Film Festival) (Living Arts Pages) (Alice Tully Hall, New York, New York) (movie review) The New York Times Oct 4, 1991 v141 pB10(N) col 4 (17 col in); Oct 3, 1991 v141 pC21(L) col 1 (14 col in)

Renov, Michael
"Family Secrets: Alan Berliner's Nobody's Business and the (American) Jewish Autobiographical Film." Framework: The Journal of Cinema and Media, Volume 49, Number 1, Spring 2008, pp. 55-65
UCB users only

McCarthy, Todd .
"Intimate Stranger." (movie reviews) Variety Feb 10, 1992 v346 n4 p82(1)

Les Blank

Brasseaux, Carl A.
"French Dance Tonight." (movie reviews) Journal of American History v78, n3 (Dec, 1991):1186 (3 pages).

Brassieur, C. Ray.
"Marc and Ann." (movie reviews) Ethnomusicology v37, n1 (Wntr, 1993):149 (3 pages).

Brassieur, C. Ray.
"J'ai Ete au Bal" (I Went to the Dance): The Cajun and Zydeco Music of Louisiana. (movie reviews) Ethnomusicology v37, n1 (Wntr, 1993):149 (3 pages).

Canby, Vincent
"J'ai Ete au Bal." (Living Arts Pages) (movie review) (movie reviews) The New York Times April 6, 1990 v139 pB12(N) pC21(L) col 1 (14 col in)

Martin, Ann
"Filmic memories." Film Quarterly; Vol.LII nr.1 (Fall 1998); p.54-71
Collection of brief essays in which filmmakers, critics and scholars discuss what made them fall in love with film. Incl. essays by Gideon Bachmann, Alan Berliner, Les Blank, Kevin Brownlow, David Ehrenstein, Peter Forgacs, Philip Lopate, Chris Marker, Eliseo Subiela, John Woo and others.
UCB users only

Forry, Mark E.
"Ziveli: Medicine for the Heart." (movie reviews) Ethnomusicology v33, n2 (Spring-Summer, 1989):365 (3 pages).

Gutierrez, Paige.
"Yum, Yum, Yum!: A Taste of the Cajun and Creole Cooking of Louisiana." (video recording reviews) Journal of American Folklore v107, n424 (Spring, 1994):316 (3 pages).

Hagedorn, Katherine J.
"Sworn to the Drum: A Tribute to Francisco Aguabella." (movie reviews) Ethnomusicology v41, n2 (Spring-Summer, 1997):326 (4 pages).

Harvey, Dennis.
"The Maestro: King of the Cowboy Artists." (movie reviews) Variety v359, n1 (May 1, 1995):39.

Hawkins, Corinne Cullen.
"Burden of Dreams." (video recording reviews) Whole Earth Review, n62 (Spring, 1989):112.

Horton, Andrew.
"Heaven before He Dies: Les Blank's Cinema Vitalite." New Orleans Review, vol. 15 no. 2. 1988 Summer. PAGES: 30-34.

Jones, Loyal.
"Julie: Old Time of the Blue Ridge." (video recording reviews) Journal of American Folklore v105, n418 (Fall, 1992):486 (2 pages).

Lindahl, Carl.
"Marc and Ann: A Visit to Cajun Country with Marc and Ann Savoy." (video recording reviews) Journal of American Folklore v106, n422 (Fall, 1993):484 (58 pages).

Lindahl, Carl.
"J'ai Ete au Bal" (I Went to the Dance): The Cajun and Zydeco Music of Louisiana. (video recording reviews) Journal of American Folklore v106, n422 (Fall, 1993):484 (58 pages).

Maslin, Janet
"In heaven there is no beer?" (movie reviews) The New York Times May 23, 1984 v133 p20(N) pC24(L) col 2 (6 col in)

Maslin, Janet
"Sprout wings and fly." (movie reviews) The New York Times May 23, 1984 v133 p20(N) pC24(L) col 2 (9 col in)

McCarthy, Todd.
"Innocents Abroad." (movie reviews) Variety v346, n2 (Jan 27, 1992):51.

O'Connor, John J.
"Burden of dreams." (television program reviews) . The New York Times June 11, 1982 v131 p25(N) pC30(L) col 1 (10 col in)

Pareles, Jon
"A film maker's focus: music, food and people." The New York Times May 30, 1984 v133 p18(N) pC21(L) col 1 (22 col in)

Patterson, G. James.
"Ziveli: Medicine for the Heart." (movie reviews) American Anthropologist v90, n2 (June, 1988):485 (2 pages).

Peters, Nancy J.
"Long live the living! Les Blank's 'Always for pleasure'." (1979) Socialist Review Wntr-Spring 2001 v28 i1-2 p139(3)
"This article is a reprint from a 1979 edition of surrealist periodical 'Cultural Correspondence,' no. 10-11. The author discusses parades in New Orleans as an expression of spontaneous and communal joy in an increasingly Disneyifed culture, as seen through a film byLes Blank." [Expanded Academic Index]

Santoro, Gene.
"Music through Blank eyes." (Les Blank's films) Down Beat v55, n1 (Jan, 1988):60 (2 pages).

Scruggs, T.M.
"Chulas Fronteras." (video recording reviews) Ethnomusicology Fall 1999 v43 i3 p572(7)

Scruggs, T.M.
"Del Mero Corazon." (video recording reviews) Ethnomusicology Fall 1999 v43 i3 p572(7)

Smith, R. J.
"Les Blank's Americans: his films document vanishing cultures." High Fidelity March 1985 v35 p75(3)

Sovine, Melanie L.
"Sprout wings and fly." (movie reviews) American Anthropologist June 1987 v89 n2 p522(4)

Vandershaf, Sarah.
"Garlic is as Good as Ten Mothers." (video recording reviews) Whole Earth Review, n62 (Spring, 1989):112.

Whitehead, Kevin.
J'ai Ete an Bal." (video recording reviews) Down Beat v58, n4 (April, 1991):61.

Nick Broomfield

Schilt, Paige.
"Media Whores and Perverse Media: Documentary Film Meets Tabloid TV in Nick Broomfield's Aileen Wuornos: The Selling of a Serial Killer." The Velvet Light Trap 45 (Spring 2000): 50-61.

Seal, Lizzie.
"Review of Monster and Aileen: life and death of a serial killer." Contemporary Justice Review, Sep2008, Vol. 11 Issue 3, p291-292, 2p

Michel Brault

Koc, Aysegul.
"I'm just a simple filmmaker An Interview With Michel Brault." Cineaction, 2007 Issue 73/74, p28-31, 4p
UC users only

Loiselle, Andre
Le cinéma de Michel Brault, à l'image d'une nation Paris : L'Harmattan, c2005.
MAIN: PN1998.3.B748 L64 2005

Loiselle, Andre
"Michel Brault's Les Ordres: Documenting the Reality of Experience and the Fiction of History." In: Canada's best features : critical essays on 15 Canadian films / edited by Eugene P. Walz. Amsterdam : New York, NY : Rodopi, 2002.
Main (Gardner) Stacks PN1993.5.C2 C35 2002
Pacific Film Archive PN1993.5.C2 C34 2002 os

Maggi, France; Maggi, Gilbert.
"Entretien avec Michel Brault." (French) CinemAction, 1996, Issue 81, p133-135, 3p

Marsolais, Gilles; Racine, Claude.
"Entretien avec Michel Brault." (French) 24 Images, Mar/Apr 1990, Issue 48, p14-17, 4p

Melnyk, George
"Toward the Quebec Auteur: From Perrault to Arcand." Cineaction; 2002 Issue 57, p16-29, 14p, 18 bw

Simon, Sherry; Ireland, Susan; Proulx, Patrice J.
"The Intimate Other: Representations of Cultural Diversity in Quebec Film and Video (1985-1995)." Contributions to the Study of World Literature, 2004, Vol. 127, p51-62, 12p

Ken Burns

Individual videographies (US History/Politics; Pop Culture, etc.) for reviews of individual films by Burns

Ken Burns
Ken Burns has revolutionized the art of making documentaries, bringing American history to life in a very personal way. In this program, he discusses the painstaking research, hands-on techniques and limitless energy that have won him fame. Biographical details such as how he got his start, who influenced him, and where he finds inspiration offer an illuminating glimpse of this remarkable artist. Film clips from his documentaries underscore the power of his methods and the passion of his vision. Originally aired on CBS Eye on People on September 3, 1998. 45 min. Video/C 7386

Burns, Ken.
Current Biography v53, n5 (May, 1992):6 (5 pages).

Cripps, Thomas.
"Historical Truth: An Interview with Ken Burns." American Historical Review v100, n3 (June, 1995):741 (24 pages).
UC users only
"Although documentary film is almost as old as the American Historical Review (AHR) itself, historicalfilm did not have a place in the pages of the journal until very recently. The first sustained discussion of history on film did not appear in the journal until 1988. This discussion was followed the next year by the debut of an annual film review section. In subsequent years, special AHR Forums were also devoted to such important feature films as JFK and Malcolm X. This article prints the text of an interview withdocumentary filmmaker Ken Burns. The interview reveals Burns's understanding of his position in the history of documentary film. In addition, Burns hasmuch of interest to say about the work of academic historians, the relationship of visual media to politics, and our country's need for a usable past that is both accessible to a large number of people (unlike most academic history) and presented in a way that will allow us to shape a common identity." [ABC-CLIO America History and Life]

Edgerton, Gary R. (Gary Richard)
Ken Burns's America / Gary R. Edgerton. 1st ed. New York: Palgrave for St. Martin's Press, 2001.
UCB Main PN1992.5.B79 E34 2001

Edgerton, Gary.
"Ken Burns's America: Style, Authorship, and Cultural Memory." (includes videography) Journal of Popular Film and Television v21, n2 (Summer, 1993):50 (13 pages).
UC users only

Edgerton, Gary.
"Ken Burns - A Conversation with Public Television's Resident Historian." Journal of American Culture, vol. 18 no. 1. 1995 Spring. pp: 1-12.

Edgerton, Gary.
"'Mystic Chords of Memory': The Cultural Voice of Ken Burns." In: In the eye of the beholder : critical perspectives in popular film and television / edited by Gary R. Edgerton, Michael T. Marsden, and Jack Nachbar. Bowling Green, OH : Bowling Green State University Popular Press, c1997.
Main Stack PN1995.I565 1997
Moffitt PN1995.I565 1997

Harlan, David
"Ken Burns and the Coming Crisis of Academic History." Rethinking History Volume 7, Number 2 / June 2003 169 - 192
UC users only
"Ken Burns is the most famous historian in the USA. His films are immensely popular: The Civil War may have been seen by as many as a hundred million people. That would make it the most popular history ever written or produced. His eighteen-hour history of baseball would be second and Jazz - the final instalment in his trilogy of American history - would be third. At a time when Americans are said to be uninterested in history, Ken Burns has become a household name. His particular way of seeing the past has become part of the texture of American cultural life. But he has not fared well in academia. When historians review his films, they routinely condemn them as ponderous, nostalgic, hagiographic, simplistic and so on. And they don't treat popular history much better: it is almost always dismissed as a form of mass entertainment, full of amusing anecdotes and colourful tales but lacking any real analysis or historical understanding - in other words, a lightweight substitute for the real thing. But Burns and other popular historians are doing something important. They are making new truth claims about the past. 'Ken Burns and the coming crisis of academic history' begins with a reinterpretation of Burns' major work, describes the concomitant rise of what might be called 'The new popular history', and explains why that new history will necessarily and inevitably change the way we academic historians go about our work." [Taylor and Francis]

Leventhal, Larry.
"One man's 'Civil War' is another's foundation." (Ken Burns)(Profile: Corporation for Public Broadcasting) Variety v348, n9 (Sept 21, 1992):73 (3 pages).

Mifflin, Lawrie.
"A 10-year bet on Ken Burns." (General Motors to underwrite the future film projects of the documentarian)(Living Arts Pages) New York Times (Wed, June 16, 1999):B10(N), E10(L), col 3, 15 col in

Pedersen, Martin C.
"Ken Burns Makes History Happen Now."(Interview) Graphis v54, n315 (May-June, 1998):96 (6 pages).

Reynolds, Jerry.
"A TPQ Interview: Jerry Reynolds Talks with Ken Burns." Text and Performance Quarterly, vol. 12 no. 1. 1992 Jan. pp: 79-84.
UC users only

Robertson, Lori
"Ken Burns on Journalism." (Interview) American Journalism Review Sept 2001 v23 i7 p12

Rose, Vivien Ellen.
"A trademark approach to the past: Ken burns, the historical profession, and assessing popular presentations of the past." Public Historian 25.3 (Summer 2003): 49(59).
UC users only

Thelen, David
" The Movie Maker as Historian: Conversations with Ken Burns." The Journal of American History Vol. 81, No. 3, The Practice of American History: A Special Issue (Dec., 1994), pp. 1031-1050
UC users only

Tibbetts, John C.
"The Incredible Stillness of Being: Motionless Pictures in the Films of Ken Burns." American Studies v37, n1 (Spring, 1996):117 (17 pages).
"Surveys the films of Ken Burns, 1982-92, and his use of historical still photographs to illustrate the tension between imitation and authenticity. Burns serves as both historian and storyteller, and as a sensitive interpreter of still photographs. He uses photographs to foster illusions as well as in their usual role as archival images. Central to his purpose seems to be use of the photograph to persuade as well as to tell the truth. There is frequently a tension between the two." [ABC-CLIO: America History and Life]

Toplin, Robert Brent
"The Filmmaker as Historian." The American Historical Review Vol. 93, No. 5 (Dec., 1988), pp. 1210-1227
UC users only

Vause, Mikel
"Capturing the American Experience: A Conversation with Ken Burns." Weber Studies: Voices and Viewpoints of the Contemporary West, vol. 23, no. 1, pp. 2-15, October 2006

Weisberger, Bernard A.
"The Great Arrogance of the Present is to Forget the Intelligence of the Past." (interview) American Heritage v41, n6 (Sept-Oct, 1990):96 (6 pages).

Welebit, Diane.
"The Simple Life." ("The Shakers--Hands to Work, Hearts to God") Americana, vol. 15 no. 4. 1987 Sept.-Oct. pp: 37-39.

Baseball

Ward, Geoffrey C.
"Learning to like baseball. American Heritage Oct 1994 v45 n6 p86(6)

Weigel, George
"Baseball." (television program reviews) Commentary Nov 1994 v98 n5 p46(6)

The Civil War

Blight, David W.
"Homer with a camera: our Iliad without the aftermath: Ken Burns' dialog with historicans." Reviews in American History 1997 25(2): 351-359.
"Reviews Ken Burns's The Civil War: Historians Respond (1996) edited by Robert Brent Toplin, a collection of essays by nine historians who assess the accuracy of the documentary series and discuss the challenges of historian-filmmaker collaborations.

Basel, Anke.
"Ken Burns's Film Series The Civil War: An Attempt At American Self-Definition." Amerikastudien/American Studies [Germany] 1995 40(2): 283-289.
"The great success of Ken Burns's 1990 Public Broadcasting System (PBS) documentary film series The Civil War has to be attributed both to a highly professional public relations campaign and to its coincidental release during the buildup for the Persian Gulf War. Furthermore, the positive reception of the Civil War series must be situated within the context of the social and psychological crises of US society at the end of the 1980's. Burns's portrayal of the Civil War captured American viewers on an emotional level and created a new self-image. A look beyond the audience reception at the actual design and structure of the series reveals significant insights. Burns created a fictional narrative rather than a historical account out of highly heterogeneous material, thus presenting a coherent and consensus-oriented plot. The film's various storylines are artfully integrated and lead up to a comprehensive interpretation of the Civil War. The characters in this story are heroicized and celebrated, and ultimately set up as shining examples of commitment to country. The film suggests a total reconciliation betweeen North and South and argues the end of the war was unproblematic for all white Americans." [ABC-CLIO America History and Life]

Blight, David W.
"Ken Burns's the Civil War: Historians Respond." Reviews in American History 25.n2 (June 1997): 351(9).

Blight, David W.
""What Will Peace among the Whites Bring?": Reunion and Race in the Struggle over the Memory of the Civil War in American Culture." The Massachusetts Review, Vol. 34, No. 3 (Autumn, 1993), pp. 393-410
UC users only

Bowers, John.
"The Civil War." (television program reviews) Americana v18, n4 (Sept-Oct, 1990):18 (3 pages).

Burns, Ken; Thelen, David, interviewer.
"The Movie Maker As Historian: Conversations With Ken Burns." Journal of American History 1994 81(3): 1031-1050.
"Prints the text from two combined interviews with filmmaker Ken Burns conducted during 1994 in which he reflects upon, among other things, the relationship between film and history, his use of particular histories to relate a story, the framework of understanding he uses to create his films, and how he relates to the audience his films are intended for. The exchange pays attention to his film series, The Civil War." [ABC-CLIO America History and Life]

Cole, Lewis.
"The Civil War." (movie reviews) Nation v251, n19 (Dec 3, 1990):694 (5 pages).

Cripps, Thomas.
"Historical Truth: An Interview with Ken Burns." American Historical Review v100, n3 (June, 1995):741 (24 pages).

DeCredico, Mary A.
"Image and reality: Ken Burns and the Urban Confederacy." (American Civil War photographer) Journal of Urban History v23, n4 (May, 1997):387 (19 pages).
UC users only

DuBois, Ellen Carol.
"The Civil War." (video recording reviews) American Historical Review v96, n4 (Oct, 1991):1140 (3 pages).

Farrell, Bill.
"All in the Family: Ken Burns's The Civil War and Black America." Transition: An International Review, vol. 58. 1992. pp: 169-73.

Henderson, Brian
"The Civil War: "Did It Not Seem Real?" Film Quarterly > Vol. 44, No. 3 (Spring, 1991), pp. 2-14
UC users only

Ken Burns's The Civil War: The Historian's Response.
Edited by Robert Brent Toplin. New York: Oxford University Press, 1996.
Main Stack E468.9.K46 1996
Moffitt E468.9.K46 1996

Koeniger, A Cash.
"Ken Burns's "The Civil War": Triumph or Travesty?" The Journal of Military History. Apr 1991. Vol. 55, Iss. 2; p. 225

Lancioni, Judith.
"The Civil War: A Battleground of Meaning." Film & History , Spring2008, Vol. 38 Issue 1, p21-30, 10p
UC users only

McPherson, Tara.
"'Both Kinds of Arms': Remembering the Civil War." The Velvet Light Trap, vol. 35. 1995 Spring. pp: 3-18.

Morrison, Michael A.
"The Limitations of Classroom Media: Ken Burns' Civil War Series as a Test Case." Journal of American Culture, vol. 19 no. 3. 1996 Fall. pp: 39-49.
UC users only

Nelson, Michael C.
"Writing during Wartime: Gender and Literacy in the American Civil War." Journal of American Studies, vol. 31 no. 1. 1997 Apr. pp: 43-68.

O'Connor, John E.
"Ken Burns's 'The Civil War': Historians Respond." Journal of American History 84.n1 (June 1997): 241(2). E

Peacock, James.
"Was It Not Real? Democratizing Myth through Ken Burns's The Civil War." In: Images of the South: Constructing a Regional Culture on Film and Video. / Karl G. Heider, editor. pp: 112-23. Athens: University of Georgia Press, c1993. Southern Anthropological Society proceedings; no. 26
Anthropology PB1995.9.S66.I4 1993

Purcell, Hugh.
"The Civil War." (television program reviews) History Today v41 (May, 1991):7 (3 pages).

Ruffner, Kevin Conley.
"The Civil War." (video recording reviews) American Studies International v29, n1 (April, 1991):98 (4 pages).

Simpson, Brooks D.
"The Civil War: Historians Respond." Civil War History March 1997 v43 n1 p71(4)

Summers, Mark Wahlgren.
"The Civil War." (video recording reviews) Journal of American History v77, n3 (Dec, 1990):1106 (2 pages).

Wesolowski, Karen.
"Our American Iliad: A Television History of the Civil War." (Private Profit, Public Gain: Corporate Philanthropy in America)Atlantic v266, n3 (Sept, 1990):S35 (2 pages).

Frank Lloyd Wright

Leonard, John.
"Frank Lloyd Wright." (television program reviews) New York v31, n34 (Nov 16, 1998):80.

Marin, Rick.
"Frank Lloyd Wright." (television program reviews) Newsweek (Nov 16, 1998):87.

Ouroussoff, Nicolai.
"PBS' Frank Lloyd Wright film explores the genius without, the mercurial spirit within." (Renowned American architect Frank Lloyd Wright profiled in new PBS documentary by Ken Burns; Blueprint of an architect) Los Angeles Times (sun, Nov 10, 1998):F1, col 2, 20 col in.

Rosenberg, Howard.
"The Ken Burns stamp of documentary-making is all over a project worthy of its subject." (New PBS documentary on Frank Lloyd Wright by Ken Burns; Blueprint of an architect) Los Angeles Times (sun, Nov 10, 1998):F1, col 2, 24 col in.

Sandefur, Tim.
"Frank Lloyd Wright's Humanism." (documentary on the architect) Humanist v59, n3 (May, 1999):40.
UC users only
The work and endeavors of famed architect Frank Lloyd Wright have been extolled in a moving documentary by Ken Burns. Though some of the accounts of Wright's work are erroneous, most comments on his work are fact-based and complimentary.

Jazz

"All that Jazz."(Review) (television program review) Maclean's (Jan 15, 2001):50.

Amaya, Hector
"Racialized Documentary Reception of Ken Burns' Jazz" Television & New Media, vol. 9, no. 2, pp. 111-130, May 2008
UC users only

Blumenfeld, Larry
"Burns-eye view of jazz." The Village Voice; Jan 16, 2001

Brown, Lee B.
" Jazz: America's Classical Music?" Philosophy and Literature. 26 (1): 157-72. 2002 Apr.
UC users only

Cocks, Jay.
"Fascinating Rhythms: Jazz, Ken Burns' brilliant 10-part history of the music and its makers, hits all the high notes." (The Arts/Television)(Review) (television program review) Time v157, n1 (Jan 8, 2001):69+.

Davis, Francis
"I hear America scatting." The Atlantic Monthly, Jan 2001; Vol. 287, Iss. 1; pg. 76, 4 pgs
UC users only

Gabbard, Krin.
"Ken Burns's 'Jazz': beautiful music, but missing a beat." (Review) (television program review) Chronicle of Higher Education v47, n16 (Dec 15, 2000):B18 (2 pages)

Gallo, Phil
"Burns' 'Jazz' can't hear all the notes." Variety, Jan 8-Jan 14, 2001; Vol. 381, Iss. 7; pg. 40, 2 pgs
UC users only

Gates, David.
"The Story of Jazz: The epic documentary 'Jazz' has indelible portraits of Louis, Duke, Bird, Lady Day. Here's a portrait of the artist behind the portraits of the artists." (Arts and Entertainment)(Review) (movie review) Newsweek (Jan 8, 2001):58.

Gracyk, Theodore
"Jazz after Jazz: Ken Burns and the Construction of Jazz History." Philosophy and Literature. 26 (1): 173-187. 2002 Apr.
UC users only

Hagberg, Garry L.
"On Representing Jazz: An Art Form in Need of Understanding." Philosophy and Literature. 26 (1): 188-98. 2002 Apr.

Heckman, Don.
"Not exactly all that jazz; even at 19 hours, Ken Burns' new opus couldn't cover everything about the music, and that is causing some static." ('Jazz' TV documentary)(includes related article) Los Angeles Times (Sun, August 6, 2000):8, col 1, 110 col in.

Herbert, Bob.
"Billie, Benny and the Duke." (everyone should see Ken Burns's terrific 10-part, 19-hour TV documentary, 'Jazz')(Column) New York Times (Mon, July 3, 2000):A21(N), A15(L), col 1, 16 col in.

Hersch, Charles
"Ken Burns, Jazz: A Film by Ken Burns (2000)." (television program review) Polity Fall 2001 v34 i1 p107(10)
UC users only

Jacques G.
"A Roundtable on Ken Burns's Jazz." Journal of Popular Music Studies, Volume 13, Number 2, 1 September 2001, pp. 207-225(19)
UC users only

Mercer, Michelle
"Jingo all the way." The Village Voice Jan 16, 2001; p. 50

Morris, Chris.
"Advent Of A New Jazz Age?" Billboard Feb 10, 2001 v113 i6 p1
UC users only

John Murph
"Mainstream reach." Down Beat; Dec 2000 pp: 24-25

Page, Tim.
"Filmmaker Ken Burns, Blowing Jazz's Horn." (Style) Washington Post (Jan 17, 2001):C1.

Page, Tim.
"The Powerful Call of 'Jazz'; On PBS, Ken Burns Heartily Trumpets An American Original." (Sunday Arts) Washington Post (Jan 7, 2001):G1.

Ponce, Pedro.
"Jazz: an American elixer." Humanities v21, n4 (July-August, 2000):16 (5 pages).
An overview is presented on the making of 'Jazz', a television documentary by Ken Burns. The 10-part series, which will begin airing in Jan 2001, spans the genre's beginning in New Orleans, LA, in the early 1900s, and ends with contemporary theories of consolidation between classical jazz and bebop.

Pond, Steven F.
"Jamming the reception: Ken Burns, Jazz, and the problem of "America's music".(critical and public reaction to Burn's documentary television series)(reception study covers internet and traditional media)." Notes 60.1 (Sept 2003): 11(35).
UC users only

Radano, Ronald.
"Myth today: the color of Ken Burns jazz." Black Renaissance/Renaissance Noire 3.3 (Summer-Fall 2001): 42(14).

Ratliff, Ben
"Fixing, For Now, The Image Of Jazz." New York Times Jan 7, 2001; 1: 2

Roberts, Fletcher.
"A new look at the heat and cool of jazz." (look at the making of Ken Burns' documentary 'Jazz' through the eyes of one of his photography researchers Victoria Gohl) New York Times (Sun, Jan 7, 2001):33(N), col 1, 35 col in.

Roberts, Rex
"All That Jazz." (Review)_(movie review) Insight on the News Jan 29, 2001 v17 i4 p26

Rosenberg, Howard.
"Television Review; It's Got That Swing; Ken Burns listens for the sound of America in his 18-hour 'Jazz' documentary, airing on PBS stations." Los Angeles Times (Jan 8, 2001):F-1.

Rutenberg, Jim.
"The publicity for 'Jazz.'" (Ken Burns and General Motors work to publicize new PBS documentary)(Living Arts Pages) New York Times (Wed, Sept 6, 2000):B8(N), E8(L), col 1, 17 col in.

Salamon, Julie
"Music and Race: The Glory and the Pain."New York Times Jan 8, 2001; E.1: 03

Santoro, Gene
"All That Jazz. " (Review) (television program review) Nation v272, n4 (Jan 29, 2001):34.

Steinbeck, Paul
"Blowin' Hot and Cool: Jazz and Its Critics." Current Musicology. Fall 2007. p. 169 (7 pages)
UC users only

"Symposium: On Ken Burns's 'Jazz'."Philosophy and Literature. 26 (1): 157-98. 2002 Apr.
UC users only

Tolson, Jay.
"Stormy weather." (Review) (television program review) U.S. News & World Report v129, n23 (Dec 11, 2000):62.
UC users only

Trescott, Jacqueline.
"Agency trumpets Ken Burn's jazz documentary." (National Endowment for the Humanities gives $800,000 to filmmaker Ken Burns to make documentary about jazz) Washington Post v119, n247 (Thu, August 8, 1996):C1, col 2, 16 col in.

Velez, Andrew
"Jazz: A Film." (video recording review) . The Advocate (The national gay & lesbian newsmagazine) Feb 13, 2001 p46
UC users only

"Watching 'Jazz' for Its High Notes and Low."
New York Times, Jan 7, 2001; Late Edition (East Coast); pg. 2.33

Wieseltier, Leon.
"Washington Diarist: Carvin' The Bird." New Republic (Jan 22, 2001):42.

Wren, Celia
"Take five." Commonweal, Jan 12, 2001; Vol. 128, Iss. 1; pg. 20, 2 pgs
UC users only

Lewis & Clark

Adler, Jerry.
"The Civil Warriors." (the continued strong interest in the tremendous expedition of Meriwether Lewis and William Clark, culminating in a public television documentary directed by Ken Burns)(Brief Article) Newsweek v130, n18 (Nov 3, 1997):73.

Carter, Bill.
"In Historic Footsteps." (Ken Burns' 'Lewis and Clark and the Journey of Discovery' television program receives highest rating for any program on PBS since 1991) (Living Arts Pages) New York Times v147 (Wed, Nov 12, 1997):B8(N), E8(L), col 6, 5 col in.

Fritz, Harry W.
"Lewis and Clark: The Journey of the Corps of Discovery." (Review) (television program review) Journal of American History v86, n3 (Dec, 1999):1417 (1 page).

James, Caryn.
"Lewis and Clark: The Journey of the Corps of Discovery." (television program reviews) New York Times v147 (Tue, Nov 4, 1997):B1(N), E1(L), col 1, 20 col in.

Collins, James.
"Lewis and Clark: The Journey of the Corps of Discovery." (movie reviews) Time v150, n18 (Nov 3, 1997):106.

Limerick, Patricia Nelson.
"Lewis and Clark: The Journey of the Corps of Discovery." (television program reviews) New York Times v147, sec2 (Sun, Nov 2, 1997):AR35(N), AR35(L), col 1, 25 col in.

Rees, Stephen.
"Lewis and Clark: The Journey of the Corps of Discovery." (video recording reviews) Library Journal v123, n13 (August, 1998):148.

Reinhartz, Dennis.
"Lewis and Clark: The Journey of the Corps of Discovery." (Review) (television program review) Journal of American History v86, n3 (Dec, 1999):1417 (3 pages).

Mark Twain

Jones, Malcolm
"Our Hippest Literary Lion: Cool cat Mark Twain gets the Ken Burns treatment." (television program review) Newsweek Jan 21, 2002 p54
UC users only

Tolson, Jay
"The twain shall meet." (television program review) U.S. News & World Report Jan 14, 2002 p46
UC users only

Not for Ourselves Alone: The Story of Elizabeth Cady Stanton & Susan B. Anthony

Burns, Ken
"Our Big Time". American Heritage Nov 1999 v50 i7 p98

Fischer, Gayle V.
"Not for Ourselves Alone: The Story of Elizabeth Cady Stanton and Susan B. Anthony." The American Historical Review. Apr 2000. Vol. 105, Iss. 2; p. 655

Herbert, Bob.
"Stanton and Anthony.(lifelong revolutionaries' Elizabeth Cady Stanton, Susan B." Anthony)(Column) New York Times, sec4 (Sun, July 4, 1999):WK11(N), WK11(L), col 1, 15 col in.

James, Caryn.
"The might behind the women's rights movement." (Review) (television program reviews) New York Times, sec0 (Thu, Nov 4, 1999):B1(N), E1(L), col 2, 35 col in.

Levy, Ariel.
"The other sexual revolution." (TV documentary directory Ken Burns)(Interview) New York v32, n43 (Nov 8, 1999):56 (5 pages).

MacNeille, Suzanne.
"The philosopher and the warrior of suffrage." (Ken Burns' documentary, "Not for Ourselves Alone: The Story of Elizabeth Cady Stanton and Susan B. Anthony) New York Times, sec2 (Sun, Oct 31, 1999):AR39(N), AR39(L), col 1, 25 col in.

Poniewozik, James.
"Thoroughly Burned Out: The suffragists and New York City as docu-dozes." (The Arts/Television)(documentaries)(Brief Article) Time v154, n19 (Nov 8, 1999):135.

Rose, Vivien Ellen; Julie Corley
"A Trademark Approach to the Past: Ken Burns, the Historical Profession, and Assessing Popular Presentations of the Past." The Public Historian Summer 2003, Vol. 25, No. 3, Pages 49-59
UC users only
A review of Not for Ourselves Alone, a historical documentary film by Ken Burns about Elizabeth Cady Stanton and Susan B. Anthony's leadership of the nineteenthcentury women's rights movement, indicates serious concerns about the impact of historical documentary filmmaking on public understanding of the past. New ways to engage the public in the process of historical analysis and understanding are suggested.

Wagner, Sally R.
"Not For Ourselves Alone: The Story of Elizabeth Cady Stanton and Susan B. Anthony." (Review) NWSA Journal Summer 2000 v12 i2 p181

Thomas Jefferson

Bowman, James.
"Ken Burns Does Jefferson." New Criterion, vol. 15 no. 8. 1997 Apr. pp: 53-58.

Egerton, Douglas R.
"Thomas Jefferson." (movie reviews) American Historical Review v102, n4 (Oct, 1997):1273 (2 pages).

Ellis, Joseph I.
"Whose Thomas Jefferson Is He Anyway?" (television portrayals)(Column) New York Times v146, sec2 (Sun, Feb 16, 1997):H35(N), H35(L), col 1, 21 col in.

Goodman, Thomas.
"Thomas Jefferson." (television program reviews) New York Times v146 (Tue, Feb 18, 1997):B1(N), C18(L), col 1, 15 col in.

Kauffmann, Stanley.
"Thomas Jefferson." (television program reviews) New Republic v216, n10 (March 10, 1997):32 (10 pages).

Ketcham, Ralph.
"Thomas Jefferson." (television program reviews) William and Mary Quarterly v54, n3 (July, 1997):667 (3 pages).

Kierner, Cynthia.
"Thomas Jefferson." (movie reviews) Journal of American History v84, n3 (Dec, 1997):1162 (2 pages).

Leonard, John.
"Thomas Jefferson." (television program reviews) New York v30, n7 (Feb 24, 1997):129 (2 pages).

Lewis, Jan; Peter S. Onuf
"American Synecdoche: Thomas Jefferson as Image, Icon, Character, and Self." The American Historical Review Vol. 103, No. 1 (Feb., 1998), pp. 125-136
UC users only

Rakove, Jack N.
"Thomas Jefferson, a Film by Ken Burns." (video recording reviews) Journal of the Early Republic v17, n4 (Winter, 1997):677 (9 pages).

Scott, Tony
"Thomas Jefferson." Variety Feb 17, 1997 v366 n3 p49(1)

Will, George F.
"The Imperfect Jefferson." (Ken Burns documentary on Thomas Jefferson)(Column) Washington Post v120, n73 (Sun, Feb 16, 1997):C7, col 5, 14 col in.

Unforgivable Blackness

Edelstein, Tilden G.
"Unforgivable Blackness: The Rise and Fall of Jack Johnson." The Journal of American History. Dec 2006. Vol. 93, Iss. 3; p. 976 (2 pages)
UC users only

Grindon, Leger.
"Unforgivable Blackness: The Rise and Fall of Jack Johnson." Cineaste, Spring2005, Vol. 30 Issue 2, p50-52, 3p,
UC users only

Kitty, Krupat.
"This Sporting Life." New Labor Forum. New York: Fall 2005. Vol. 14, Iss. 3; p. 121 (6 pages)
UC users only

Mumford, Kevin.
"Unforgivable Blackness: The Rise and Fall of Jack Johnson." The Public Historian. Spring 2006. Vol. 28, Iss. 2; p. 118
UC users only

The War

Eric Alterman.
"Burn's War: What Is It Good For?" The Nation. Oct 29, 2007. Vol. 285, Iss. 13; p. 10

Bowman, James.
"Ken Burns's war.(The media)." New Criterion 26.3 (Nov 2007): 68(5).
UC users only

Campo-Flores, Arian.
" A 'War' for Inclusion; Hispanics seek a role in the new Ken Burns film." [U.S. Edition Edition] Newsweek. Apr 23, 2007. Vol. 149, Iss. 16; p. 47

Gates, David.
"War And Remembrance; Ken Burns's in-your-face documentary on World War II revisits the battlefield and home front of yesteryear. But for viewers, the subtext will inevitably be today-and Iraq." Newsweek. New York: Sep 24, 2007. Vol. 150, Iss. 13; p. 54

Kingsbury, Alex.
"An Intimate View of 'The War'; A new documentary digs deep into life during WWII." U.S. News & World Report. Sep 24, 2007. Vol. 143, Iss. 10; p. 51

Oboler, Suzanne
"The Value of Visibility and the Value of Truth." Latino Studies. Summer 2007. Vol. 5, Iss. 2; p. 153 (4 pages)

O'Connell, Kim A.
"Ken Burns: Communicating the Experience of War." America's Civil War. Jul 2008. Vol. 21, Iss. 3; p. 18 (2 pages)
UC users only

Stuart, Reginald.
"A Historical Omission." Diverse Issues in Higher Education. Sep 20, 2007. Vol. 24, Iss. 16; p. 20 (3 pages)
UC users only

Torgovnick, Marianna.
"Ken Burns's 'The War': an American Anthem.(Movie review)." The Chronicle of Higher Education 54.4 (Sept 21, 2007)
UC users only

Unforgivable Blackness

Edelstein, Tilden.
"Unforgivable Blackness: The Rise and Fall of Jack Johnson.(Movie review)." Journal of American History 93.3 (Dec 2006): 976(2).

Mumford, Kevin.
"Unforgivable Blackness: The Rise and Fall of Jack Johnson." Public Historian 28.2 (Spring 2006): 118(3).

The West

Aron, Stephen.
"The West as America: A Review of the latest Ken Burns Documentary." Perspectives: American Historical Association Newsletter 1996 34(6): 1, 7-10.

Bunce, Alan.
"Yankee Tells Story of America's West; director of 'The West,' Stephen Ives, says it was no easy task to chronicle the vast frontier." Christian Science Monitor v88, n210 (Tue, Sept 24, 1996):14, col 2, 22 col in.

Cripps, Thomas.
"Historical Truth: An Interview with Ken Burns." American Historical Review v100, n3 (June, 1995):741 (24 pages).

Fabian, Ann; Moore, Shirley Ann Wilson; Sandweiss, Martha A.; Fees, Paul; and others.
"Wresting the West from 'The West': A Roundtable." Western Historical Quarterly v28, n3 (Autumn, 1997):295 (20 pages).

Geier, Thom.
"The West." (television program reviews) U.S. News & World Report v121, n11 (Sept 16, 1996):17.

Goodman, Walter.
"The West." (television program reviews) New York Times v145 (Sat, Sept 14, 1996):11(N), 11(L), col 1, 15 col in.

Green, Michelle Y.
"How the West Was Done." (television producers Ken Burns, Stephen Ives create eight-part history series 'The West')(Cover Story) Broadcasting & Cable v126, n38 (Sept 9, 1996):22 (2 pages).

Marin, Rick.
"The West." (television program reviews) Newsweek v128, n13 (Sept 23, 1996):60.

McDougall, Walter A.
"Bury My Heart at PBS." (political correctness displayed in documentary called 'The West' by the Public Broadcasting Service) Commentary v102, n6 (Dec, 1996):41 (6 pages).
UC users only
" While promising to portray both sides of the story of European settlement of the American West, PBS filmmakers Stephen Ives and Ken Burns have instead offered a view in 'The West' that mixes sloppy history, philosophy and entertainment into a picture which equates Western development with spiritual death and economic dehumanization." [Expanded Academic Index]

Mifflin, Lawrie.
"A Film Maker Crosses a Frontier of His Own. (Stephen Ives has spent five years directing an 8-part epic documentary produced by Ken Burns, 'The West,' to be shown on Public Broadcast Service television. New York Times v145 (Mon, July 8, 1996):B1(N), C9(L), col 1, 26 col in

Moore, Shirley Ann Wilson
"Television, "The West," and "The Real West"." The Western Historical Quarterly, Vol. 28, No. 3 (Autumn, 1997), pp. 296-298
UC users only

Rankin, Charles E.
"Not such a pretty picture: complexity and understanding in 'The West.'" Western Historical Quarterly 1997 28(3): 298-304.
UC users only
"With mixed success, The West, Ken Burns and Stephen Ives's 1996 television documentary, strove to present the American West with all of its complexity and turbulence. Commendably incorporating new perspectives, insights, and interpretive structures, it nevertheless fails to reconcile contemporary approaches with previous interpretations of Western history for popular consumption. The West is at its best when it deals with the dreams and expectations of several cultures. The documentary measures expectations with reality better than any previous television depiction." [ABC-CLIO America History and Life]

Sandweiss, Martha A.
"The West: The Visual Record." Western Historical Quarterly 1997 28(3): 304-307.
UC users only
"In their 1996 television documentary The West, Ken Burns and Stephen Ives were "historically-irresponsible filmmakers." The creative use of still images such as photographs is taken to extremes, even to deception. For instance, while the documentary discusses the 1680 Pueblo Revolt, the camera focuses on a late-19th- or early-20th-century photograph of a Hopi snake dancer. This misuse raises "serious questions" about the legitimacy of the filmmakers as public historians and their formulaic ways of producing such documentaries. They are using two sets of rules: one governs the print world where written texts are in the hands of historians whose conventions demand scrupulous honesty in the use of primary source evidence, the other governs the world of documentary film, where previous success allows Burns and Ives to feel empowered "to write their own rules."" [ABC-CLIO America History and Life]

Schowalter, D. F.
"Hallucination as epistemology: Critiquing the visual in Ken Burns' The West." Communication and Critical/Cultural Studies, vol. 1, no. 3, pp. 250-270, 2004
UC users only
"This essay argues that Ken Burn's epic film The West (1996) enables a critique of viewing images as hallucinations and speaks to the impossibility of representing history through images and narration via traditional documentary forms. This epistemology, in turn, enables viewers to look past the traumatic narrative that the film ostensibly presents. The film's treatment of trauma, photographs, and history makes the catharsis of guilt and moment of redemption unnecessary, thereby exonerating the viewer from potential culpability. By decontextualizing its images and narratives so that they become pure fantasy, the film becomes self-reflexive, a commentary on the very impossibility of what it purports to represent, and capitalizes on the photograph's caricature of its very existence. By deconstructing the historical image as hallucination, the film's specific meanings have actually been obscured rather than clarified, thereby making genocide palatable. The viewer is not invited to consider, with horror, the violence and injustice that are woven into history but, rather, simply to imagine, to consume the imaginary, the imagery, and not the real. Rather than surrendering to the photograph as semiotic truth, the viewer instead learns to trust the falsity of the image, its artifice, and puts faith into the idea that what is shown, what is told, cannot possibly be truth." [Communication Abstracts]

Tuttleton, James W.
"Pride and Shame: The Winning of the West." The New Criterion, vol. 15 no. 2. 1996 Oct. pp: 23-27.

Zenzen, Joan M.
"The History of a Myth: The West." (video recording reviews) American Quarterly v49, n2 (June, 1997):385 (14 pages).
UC users only

Zoglin, Richard.
"White Men Behaving Badly." (new PBS documentary about the American West) Time v148, n13 (Sept 16, 1996):76 (2 pages).

Ric Burns

Blythe, Martin et al.
"The Way West." Great Plains Quarterly 1996 16(4): 287-290.
"Reviews the four-part, six-hour documentary film series on US expansionism in the American West, The Way West (1995). Written and directed by Ric Burns, the series has many faults, with the most critical relating to factual errors, stereotypical images, and the "dramatic effects" of its content. The author lauds the series for its attention to "Indian perspectives," in particular the activities of Red Cloud and the Sioux nation." [America History and Life]

"Coney Island.
Journal of American History 79 (Dec 92) 1273-1275.

"The Donner Party." (review)
Journal of American History 1993 80(3): 1184-1185.

"Greetings from Coney Island." (Coney Island, Brooklyn, New York's amusement park has almost disappeared but the Cyclone, Wonder Wheel, B and B Carousel, New York Aquarium as well as the beach and boardwalk remain) (Living Arts Pages) The New York Times May 17, 1991 v140 pB1(N) pC1(L) col 1 (34 col in)

Marin, Rick.
"The Way West." (television program reviews) Newsweek v125, n19 (May 8, 1995):62.

Owens, Kenneth N.
"The Way West." (television program reviews) Journal of American History v82, n3 (Dec, 1995):1309 (4 pages).

Utley, Robert M.
"Remarks At The Symposium "The Way West" Nebraska History 1996 77(2): 62-66.
" Ric Burns's six-hour television documentary The Way West is an expertly edited, stunning collage of images that reveals Burns as a producer of rare sensitivity. It is not nor does it pretend to be a comprehensive history of the American West. It raises various questions, the most important being why whites went west after 1848 and what the consequences were of the westward movement. These are questions that both historians and the popular media are answering and will answer. The author discusses whether the media should present this past as unqualified verities that are easily understood or render it as life itself - confusing, ambivalent, contradictory, with little certain ground." [America History and Life]

Wadler, Joyce
"No civil war, but a brotherly indifference." (interview with filmmaker, Ric Burns)(Public Lives) The New York Times Nov 17, 1999 pB4(L) col 4 (23 col in)

New York: A Documentary Film

Allen, Frederick
"The Supreme Laboratory of the American Experiment". (Interview) American Heritage Nov 1999 v50 i7 p68

Erenberg, Lewis A.
"New York: A Documentary Film." (Review) Journal of Urban History May 2001 v27 i4 p526(4)
UC users only

James, Caryn
"For a city driven by a dream." (television program review) The New York Times Nov 12, 1999 pB1(N) pE1(L) col 2 (35 col in)

Leonard, John
"New York times." (television program reviews) New York Nov 15, 1999 v32 i44 p78(2)

Mermelstein, David.
"New York: A Documentary Film." (Review) Variety Nov 15, 1999 v377 i1 p37

"New York: A Documentary Film." Film & History 2000 30(1): 76-78.

Siegel, Lee
"Every Sweat Shop has a Silver Lining". (Review) Harper's Magazine Feb 2000 v300 i1797 p79

Strum, Charles
"Capturing New York's promethian fire." (Ric Burns discusses his 12-hour, 6-part PBS documentary 'New York') The New York Times Sept 12, 1999 pAR25(N) pAR25(L) col 1 (35 col in)

Wren, Celia
"Home of the Waldorf Salad: PBS's 'New York'." (television program reviews) Commonweal Nov 5, 1999 v126 i19 p20
UC users only

Frank Capra

See separate bibliography of articles and books about Capra's war time documentary works

Alberto Cavalcanti

See separate bibliography

Debra Chasnoff

Herman, Ellen.
"Academy award-winning Lesbian Speaks." (filmmaker Debra Chasnoff) (Interview) Gay Community News v19, n39 (May 9, 1992):8 (2 pages).
" Filmmaker Debra Chasnoff's 'Deadly Deception: General Electric, Nuclear Weapons, and Our Environment' won an Academy Award for best short documentary. The film is about Infant Formula Action Coalition (INFACT)'s boycott of General Electric Co. (GE) because of GE's role in environmental destruction. INFACT is an organization which oppose big corporations that are destructive to human lives and the environment. Chasnoff also made another film called 'Choosing Children,' a documentary on lesbian families. She plans to do a film about homophobia for elementary school children." [Expanded Academic Index]

Deadly Deception

Hitchens, Gordon
"Deadly Deception: General Electric, Nuclear Weapons and Our Environment." (video recording reviews) Cineaste Wntr 1992 v19 n1 p67(1)
UC users only
Levene, Susan .
"Don't look the other way": talking with Academy Award winner Debra Chasnoff about her new film. (Interview) Gay Community News Fall 1995 v21 n2 p12(3)
" Debra Chasnoff is making the documentary film 'Don't Look the Other Way' in an effort to counter homophobia in elementary school children. Her film does not discuss sex but is meant to eradicate wrong notions about the gay community from the minds of parents and teachers. She presents debates among students of various grades on gay and lesbian issues to show that sexual orientation can be as freely discussed as any other social topic." [Expanded Academic Index]

It's Elementary

Achtenberg, Roberta; Morgan, Mary.
"It's Elementary: Talking About Gay Issues in School." Advocate, n716 (Sept 17, 1996):75 (3 pages).

Brune, Brett.
"Teaching Teachers to Talk About Gay Issues." (Debra Chasnoff's documentary, 'It's Elementary: Talking About Gay Issues in School,' is being shown to educators around the U.S.) New York Times v145, sec1 (Sun, Oct 13, 1996):12(N), 22(L), col 4, 14 col in.

Ireland, Doug
"Gay Ed for Kids." (Review) The Nation June 14, 1999 v268 i22 p8

Levene, Susan
""Don't look the other way": talking with Academy Award winner Debra Chasnoff about her new film." (Interview) Gay Community News Fall 1995 v21 n2 p12(3)
" Debra Chasnoff is making the documentary film 'Don't Look the Other Way' in an effort to counter homophobia in elementary school children. Her film does not discuss sex but is meant to eradicate wrong notions about the gay community from the minds of parents and teachers. She presents debates among students of various grades on gay and lesbian issues to show that sexual orientation can be as freely discussed as any other social topic." [Expanded Academic Index]

Sadtler, Carol
"Tackling homophobia at school." (film director Debra Chasnoff's elementary school video series, 'Respect for All')(Interview) The Progressive March 1996 v60 n3 p15(1)
UC users only

Schenden, Laurie
"School's "out" for summer." (documentary on homosexual tolerance raises ire of Christian right)(Brief Article) The Advocate (The national gay & lesbian newsmagazine) June 8, 1999 p63
UC users only

Peter Davis

Hearts and Minds

Bernard, W.
"Hearts and minds." Films in ReviewVol.XXVI nr.4 (Apr 1975); p.248-249

Biskind, Peter
"Hearts and minds." Cineaste Vol.VII nr.1 (Fall 1975); p.31-2
UC users only
Biskind, Peter.
"Hearts and Minds." In: The Documentary Tradition / edited by Lewis Jacobs. pp. 551-57. 2nd ed. New York: Norton, 1979
Main Stack PN1995.9.D6.J3 1979
Moffitt PN1995.9.D6.J3 1979)

Capdenac, M.
"Le coeur et l'esprit." Ecran nr.37 (June-July 1975); p.54-56

Gilliatt, Penelope
"Hearts and minds."
The New Yorker v 51 Apr 28 1975. p. 120+
UC users only

Grosser, David.
"'We Aren't on the Wrong Side, We Are the Wrong Side': Peter Davis Targets (American) Hearts." In: From Hanoi to Hollywood: the Vietnam War in American film / edited by Linda Dittmar and Gene Michaud.pp: 269-83 New Brunswick: Rutgers University Press, c1990.
Main Stack DS557.73.F76 1990
Moffitt DS557.73.F76 1990 ?

"Hearts and minds."
Esquire v 83 June 1975. p. 64+

"Hearts and minds."
Ms v 3 Mar 1975. p. 35-6

"Hearts and minds."
The Nation v 220 Apr 12 1975. p. 446

"Hearts and minds."
The New Republic v 172 Mar 15 1975. p. 22+

"Hearts and minds."
Newsweek v 84 Dec 23 1974. p. 80

"Hearts and minds."
Newsweek v 85 Mar 3 1975. p. 67+

"Hearts and minds."
The Progressive v 39 May 1975. p. 38-9

"Hearts and minds."
Ramparts Magazine v 13 Apr 1975. p. 38-44

"Hearts and minds."
Saturday Review v 2 Mar 22 1975. p. 37-8

"Hearts and minds."
Time v 105 Mar 17 1975. p. 4+

Kopkind, Andrew
"Hollywood politics: hearts, minds and money." Ramparts Magazine v 13 Aug 1975. p. 45-8

Landau, S.
"Hearts and minds. An American film trial." Jump Cut nr.8 (Aug-Sept 1975); p.3-5

Monaco, James.
"Hearts & Minds." Cineaste, Summer2003, Vol. 28 Issue 3, p52, 3p
UC users only

Sjöberg, Patrik.
"Hearts and minds." Film International, 2003, Vol. 1 Issue 3, p54-55, 2p

Sobran, M. J., Jr
"Hearts and minds." National Review v 27 June 6 1975. p. 621

Steirer, William F., Jr.
"Hearts and Minds by Bert Schneider; Peter Davis." The History Teacher, Vol. 9, No. 4 (Aug., 1976), pp. 661-665
UC users only

Weiner, B.
"Hearts and minds:: full-length commercial documentary on Vietnam." Film Quarterly Vol.XXVIII nr.2 (Winter 1974-75); p.60-63
UC users only

Edward Curtis

Coming to Light: Edward S. Curtis and the North American Indians [video]
Edward S. Curtis was a driven, pioneer photographer who set out in 1900 to document traditional Indian life. He became the most famous photographer of his time and created an enormous body of work. This film tells the dramatic story of Curtis's life, his monumental work, and his changing views of the people he set out to document. American Indians who are using his photographs for cultural preservation respond to the pictures, tell stories about the people in the photographs and discuss the meaning of the images. A film by Anne Makepeace. 2000. 86 min. DVD 3194; also VHS Video/C 4380

American Library Assn. Video Round Table Notable Videos winner

Description from Bullfrog Films catalog

Davis, Barbara A.
Edward S. Curtis: The Life and Times of a Shadow Catcher. San Francisco, Calif.: Chronicle Books, c1985.
UCB Bancroft f TR140.C82 D38 1985

Gidley, Mick.
"Into Apache Lands: Reminiscences of Edward S. Curtis's North American Indian Project." European Review of Native American Studies, vol. 8 no. 1. 1994. pp: 15-22.

Hearne, Joanna
"Telling and retelling in the 'Ink of Light': documentary cinema, oral narratives, and indigenous identities." Screen; Autumn2006, Vol. 47 Issue 3, p307-326, 20p
"The article focuses on the oral narratives and original identities of some documentary cinema in the U.S. which has been a topic of contentions in Native American image studies. Just like the photograph by Edward S. Curtis which shows a pictorialist tradition in an intensely indicative piece while his film "In the Land of the War Canoes," which depicts a powerful focal text, lying in between the impulses of the 19th century photography and the changing cinematic technology. Catherine Russell stated that continuous indigenous interest in early ethnographic films only suggests the films' many-sided roles as documents of both living cultural memory and historical colonial policy." [Ebsco]

Holm, Bill and Quimby, George Irving
"In the Land of the war canoes." Society 1982 19(3): 66-69 4p

Holm, Bill.
Edward S. Curtis in the Land of the War Canoes: A Pioneer Cinematographer in the Pacific Northwest. Quimby. Seattle: University of Washington Press, c1980.
UCB Anthropol TR849.C87 H64 1980;
UCB Bancroft F890.C8 .H5

Patterson-Black, Gene.
"Images of the American Indian, a review of In the Land of the Headhunters by Edward Sheriff Curtis." Denver Quarterly, 1978, Vol. 12 Issue 4, p71-78, 8p

Russell, Catherine.
"Playing primitive: "In the Land of the Headhunters" and/or "War Canoes."" Visual Anthropology, 1996, Vol. 8 Issue 1, p55-77, 23p

The Shadow Catcher: Edward S. Curtis and the North American Indian[video]
A profile of photographer, anthropologist and filmmaker Curtis, who spent 34 years recording the American Indian tradition. Between 1896 and 1930 Curtis collected interviews and original Indian stories, recorded some 10,000 songs and took 40,000 pictures many of which are used in the production. Film retraces his journeys from the pueblo regions of the Southwest, north to British Columbia and Alaska. 89 min. Video/C 353

Wakeham, Pauline.
"Becoming Documentary: Edward Curtis's 'In The Land Of The Headhunters' and the Politics Of Archival Reconstruction." Canadian Review of American Studies 2006 36(3): 293-309 17p.
UC users only

Winston, Brian.
"Before Flaherty, Before Grierson: Before the Documentary Film in 1914." (Edward Curtis) Sight and Sound v57, n4 (Autumn, 1988):277 (3 pages).

Emile de Antonio

Emile de Antonio: a reader
Douglas Kellner and Dan Streible, editors; foreword by Haskell Wexler. Minneapolis: University of Minnesota Press, c2000. Visible evidence; v. 8
Main Stack PN1998.3.D3846.E65 2000

Folkart, Burt A.
"E. de Antonio; documentary film maker." (obituary) Los Angeles Times v109 (Fri, Dec 22, 1989):A34, col 2, 12 col in.

Fraser, C. Gerald.
"Emile de Antonio is dead at 70; maker of political documentaries." (obituary) New York Times v139 (Wed, Dec 20, 1989):A20(N), D22(L), col 4, 12 col in.

Waugh, Thomas.
"Beyond Vérité: Emile de Antonio and the new documentary of the seventies." In: Movies and methods: an anthology / edited by Bill Nichols. Berkeley: University of California Press, c1976
Main Stack PN1994.M71 Library has: v.1-2 (1976-1985)

Weiner, Bernard; Emile de Antonio
"Radical Scavenging: An Interview with Emile de Antonio." Film Quarterly Vol. 25, No. 1 (Autumn, 1971), pp. 3-15
UC users only

Point of Order

Doherty, Thomas.
"Point of Order!" (movie reviews) History Today v48, n8 (August, 1998):33 (5 pages).

Denby, David.
"Point of Order!" (movie reviews) New York v31, n15 (April 20, 1998):63.

Kepley, Vance , Jr.
"The Order of "Point of Order"." Film History, Vol. 13, No. 2, Non-Fiction Film (2001), pp. 200-215
UC users only

Talbot, D.
"Fact and Fantasy in the Making of "Point of Order"." Cineaste v. 31 no. 3 (Summer 2006) p. 18-20
UC users only
"Daniel Talbot, founder of New Yorker Films and coproducer of Emile de Antonio's documentary classic, Point of Order, responds to Robert Koehler's article on the DVD release of the film, published in Cineaste, volume 31, number 2. Talbot explains why he did not, as Koehler pointed out, offer his side of the story on the New Yorker Video release of the film. He goes on to provide a behind-the-scenes account of the difficult making of this documentary classic on the Army-McCarthy hearings of 1954, as well as the riveting background to the chaotic partnership between himself and De Antonio."

Tuchman, Mitch.
"Freedom of information." (director Emile de Antonio's 'Point of Order', a film made from television coverage of the McCarthy hearings) Film Comment v26, n4 (July-August, 1990):66 (2 pages).

Arthur Dong

Ballot Measure 9

Brasell, Bruce R.
"Bullets, Ballots and Bibles: Documenting the History of the Gay and Lesbian Struggle in America" ('Coming Out Under Fire,' 'Ballot Measure 9' and 'One Nation Under God') Cineaste v21, n4 (Fall, 1995):17.

Boxall, Bettina.
"Battle Lines Drawn Over Oregon's Anti-Gay Measure." (Measure 9 on ballot) Los Angeles Times v111 (Thu, Oct 22, 1992):A1, col 5, 46 col in.

Glaser, Garrett.
"Ballot Measure 9." (movie reviews) Advocate, n684 (June 27, 1995):60 (3 pages).

Holden, Stephen.
"Ballot Measure 9." (movie reviews) New York Times v144 (Fri, June 2, 1995):C14(L), col 6, 7 col in.

Kauffmann, Stanley.
"Ballot Measure 9." (movie reviews) New Republic v213, n2 (July 10, 1995):24 (2 pages).

Maslin, Janet.
"Ballot Measure 9." (movie reviews) New York Times v144 (Wed, June 21, 1995):B2(N), C15(L), col 5, 16 col in.

Mercer, Joye.
"Oregon Proposal Would Require Higher Education to Fight Homosexuality as 'Abnormal, Wrong, Perverse.'" (Ballot Measure 9) Chronicle of Higher Education v39, n4 (Sept 16, 1992):A27 (2 pages).

Quindlen, Anna.
"Putting Hatred to a Vote." (presidential candidates should decry Oregon's anti-homosexual Ballot Measure 9) (Column) New York Times v142 (Wed, Oct 28, 1992):A19(N), A21(L), col 1, 17 col in.

Sullivan, Robert.
"Revolution Number 9: Postcard from Oregon." (homophobic Measure 9 on the ballot in Oregon) New Yorker v68, n38 (Nov 9, 1992):67 (4 pages).

Coming Out Under Fire

Frascella, Lawrence.
"Coming Out Under Fire." (movie reviews) Advocate, n659 (July 12, 1994):74 (2 pages).

Goodman, Walter
"P.O.V.: Licensed to Kill." (television program review)_ The New York Times June 23, 1998 v147 pB8(N) pE8(L) col 3

Levy, Emanuel.
"Coming Out Under Fire." (movie reviews) Variety v354, n1 (Feb 7, 1994):40.

Forbidden City, U.S.A.

Chang, Gordon H.
"Forbidden City, U.S.A." (movie reviews) Journal of American History v77, n3 (Dec, 1990):1119 (2 pages).

Licensed to Kill

Blanchard, Bob.
"Inside out: Arthur Dong Gets to Know Gay-bashers."(director of film 'Licensed to Kill')(Interview) Progressive v61, n6 (June, 1997):32 (2 pages).

Doherty, Thomas
"Licensed to kill: an interview with Arthur Dong." (filmmaker)(Interview) Cineaste 23:2 (December 1997)
UC users only
"Arthur Dong believes in examining the pathology of individuals who kill gays because of their contempt for homosexuals. His film, 'License to Kill,' examined the crimes, personal motives and popular culture of persons who hate and kill gays. He feels strongly that his film gives the individuals the forum to narrate their stories and experiences." [Expanded Academic Index]

Huisman, Mark J.
"Licensed to Kill." (movie reviews) Advocate, n731 (April 15, 1997):42.

Klawans, Stuart. ie reviews) Nation v264, n16 (April 28, 1997):35 (2 pages).

Maslin, Janet
"Licensed to Kill." (movie review) The New York Times April 3, 1997 v146 pB6(N) pC16(L) col 3

The Question of Equality

Goodman, Walter.
"The Question of Equality." (television program review) The New York Times Nov 4, 1995 v145 p13(N) p52(L) col 1 (17 col in)

Robert Drew

Drew Associates web site

Breitrose, Henry
"Drew Associates, Observational Film, and the Modern Documentary." Stanford Humanities Review, 1999 Winter, 7:2, 113-27.

Krolik, Richard.
"Cinema Verité, Documentary Television, and How it Grew with Robert Drew." Television Quarterly v28, n2 (Spring, 1996):68 (8 pages).
"Robert Drew is a distinguished pioneer of documentary TV, developing the medium out of his position at Life magazine. After receiving a Nieman fellowship in journalism in 1955, he turned to short films using Life's promotional budget. After his films appeared on TV shows, he was hired by the Time-Life broadcast division, setting up his first unit for production in 1960. His film on the Wisconsin Democratic primary in that year is a landmark still used in classrooms. His style developed as cinema verite." [Expanded Academic Index]

Mamber, Stephen
"Cinema-Verite in America, Part I." Screen 1972 13: 79-108
UC users only

O'Connell, P. J.
Robert Drew and the Development of Cinema Verite in America. Carbondale: Southern Illinois University Press, c1992.
UCB Main PN1998.3.D73 O25 1992

Primary

Hall, J.
"Realism as a style in cinema verite: a critical analysis of Primary." (Article). Cinema Journal XXX/4, Summer 91; p.24-50.
UC users only
Reviews the early 1960's wave of US cinéma vérité documentaries, focusing on "Primary", showing how they construct their own brand of realism.

James, Caryn
"When TV changed American politics." ('A Century of Reality' series on Turner Classic Movies network starts with 'Primary', a documentary about the Kennedy-Nixon race) The New York Times Nov 2, 1999 pB1(N) pE1(L) col 3 (25 col in)

Jon Else

Interviews from various web sites

Shepard, Richard F.
"Palace of Delights." (television reviews). New York Times v131 (Fri, July 30, 1982):24(N), C24(L), col 4.

Ward, Geoffrey C.
"The Great Depression." (television program reviews) American Heritage v44, n7 (Nov, 1993):16 (2 pages).

Cadillac Desert

Igler, David.
"Cadillac Desert: Water and the Transformation of Nature." (Review) (movie reviews) Journal of American History v85, n3 (Dec, 1998):1184 (2 pages).

Goodman, Walter.
"Cadillac Desert: Mulholland's Dream." (television program reviews) New York Times v146 (Fri, July 4, 1997):B20(N), B15(L), col 1, 9 col in.

Gorman, James.
"The bygone romance of taming the rivers." (television program, 'Cadillac Desert: Water and the Transformation of Nature' examines the history, politics and environmental ramifications of the politics of the... New York Times v146, sec2 (Sun, July 6, 1997):H32(N), H32(L), col 1, 17 col in.

Igler, David
"Cadillac Desert: Water and the Transformation of Nature." (movie reviews) Journal of American History Dec 1998 v85 i3 p1184(2)
UCB users only

Nichols, Peter M.
"Cadillac Desert: Water and the Transformation of Nature." (video recording reviews) New York Times v147, sec2A (Sun, Nov 9, 1997):HM31(N), HM31(L), col 5, 1 col in.

Rothenberg, Robert S.
"Cadillac Desert: Water and the Transformation of Nature." (video recording reviews) USA Today v126, n2634 (March, 1998):81 (1 page).
UCB users only

Day After Trinity

"Day After Trinity." American Heritage v. 32 (October/November 1981) p. 92

Linnett, R.
"Day After Trinity." Cineaste Vol XI nr 2 (1981); p 37.

"Day After Trinity." The Nation v. 232 (February 14 1981) p. 188-9

"Day After Trinity." New York v. 14 (May 4 1981) p. 80

"Day After Trinity." (video recording reviews) Utne Reader, n41 (Sept-Oct, 1990):146 (1 page).

Nichols, Peter M.
"Exploring Options" [CD-ROM release of "Day After Trinity"] New York Times, August 18, 1995, Friday, Late Edition - Final Section D; Page 18; Column 3; Weekend Desk

Eyes on the Prize

Goodman, Walter.
"Eyes on the prize: America's civil rights years, 1954-1965." (television program reviews) New York Times v136 (Thu, Jan 22, 1987):20(N), col 6, 10 col in.

Griffin, C. J.
"Movement as memory: Significant form in "Eyes on the Prize."" Communication Studies, vol. 54, no. 2, pp. 196-210, 2003
" "Eyes on the Prize: America's Civil Rights Years" ranks as one of the most successful public television documentaries ever produced. Although it originally aired in 1987, the series has since been shown widely in school and college classrooms, where it arguably has influenced many students' understanding of the civil rights struggle and, more fundamentally, of the nature and form of "social movement" itself. This essay draws upon Kenneth Burke's concept of "significant form" to examine how the documentary's design works to shape public memory of the civil rights struggle as a social movement. In addition to yielding insight into the rhetorical structure of a landmark television documentary, the analysis of form in "Eyes on the Prize" illuminates how public consciousness of "social movement" can be created and perpetuated through narrative form." [Communication Abstracts]

Great Deperession

Ward Geoffrey C.
"The Great Depression." (television program reviews) American Heritage Nov 1993 v44 n7 p16(2)

Sing Faster

Harvey, Denis
"Sing Faster: The Stagehands' Ring Cycle." (Review) Variety v373, n13 (Feb 15, 1999):63 (1 page).

Melick, Jennifer: Video
"Sing Faster--The Stagehands' Ring Cycle" Opera News 64:4 [October 1999] 90

Yosemite, The Fate of Heaven

Leonard, John.
"Yosemite - The Fate of Heaven." (television program reviews) New York v22, n47 (Nov 27, 1989):92 (1 page).

Runte, Alfred.
"Yosemite: The Fate of Heaven." (movie reviews) Journal of American History v77, n3 (Dec, 1990):1109 (2 pages).
UC users only

Harun Farocki

See Avant-garde, Underground, and Experimental Cinema

Robert Flaherty

Agel, Henri.
Robert J. Flaherty, presentation par Henri Agel. Choix de textes de Robert Flaherty ... Filmographie, bibliographie. Paris, Seghers 1965. Series title: Cinema d'aujuord'hui, 32.
UCB Main PN1993 .C4 v.32

Barsam, Richard Meran.
The Vision of Robert Flaherty: The Artist as Myth and Filmmaker / Richard Barsam. Bloomington; Indiana University Press, c1988. UCB Main PN1998.A3 F466 1988;
UCB Moffitt PN1998.A3 F466 1988

Berger, Sally.
"Move Over Nanook." Wide Angle, vol. 17 no. 1-4. 1995. pp: 177-91.
"Acknowledges the impact of Flaherty's documentary "Nanook of the North", while pointing out the wealth of film material produced by the Inuit people themselves. Discusses the vast amount of indigenous film material now available and suggests that the Flaherty seminars should allow more space for it." [FIAF]

Bernstein, Matthew
"Visual style and spatial articulations in 'Berlin, symphony of a city' (1927)." Journal of Film and Video; Vol.XXXVI nr.4 (Fall 1984); p.5-12,61
Analyses of "Nanook of the North" and "Berlin die Sinfonie der Grosstadt". Challenges the use of word 'documentary' as an oppositional term to 'narrative'.

Burton, John W.
"Nanook and the Kirwinians: Deception, Authenticity, and the Birth of Modern Ethnographic Representation." Film History 14:1 (2002) p. 74-86
UC users only

Calder-Marshall, Arthur
The Innocent Eye, The Life of Robert J. Flaherty. Based on research material by Paul Rotha and Basil Wright. London, W. H. Allen, 1963.
UCB Main PN1998.A3 F43 C3

Canudo, Ricciotto.
"Another View of Nanook." In The Documentary Tradition / edited by Lewis Jacobs. pp. 20-22. 2nd ed. New York: Norton, 1979
Main Stack PN1995.9.D6.J3 1979
Moffitt PN1995.9.D6.J3 1979

Christopher, Robert J.
Robert and Frances Flaherty: a documentary life, 1883-1922 Montreal; Ithaca: McGill-Queen's University Press, c2005.
MAIN: PN1998.3.F59 C47 2005

Clurman, Harold.
"Flaherty's Louisiana Story." In: The Documentary Tradition / edited by Lewis Jacobs. pp. 230-3. 2nd ed. New York: Norton, 1979
Main Stack PN1995.9.D6.J3 1979
Moffitt PN1995.9.D6.J3 1979

Corliss, Richard
"Robert Flaherty: the man in the iron myth." Film Comment; Vol.IX nr.6 (Nov-Dec 1973); p.38-42
Discussion of the films of Robert Flaherty and his unique style of exploring the human soul

Eyman, Scott.
"Sunrise in Bora Bora." (prints saved from "Taboo" a film made over 60 years ago by film makers Friedrich Wilhelm Murnau and Robert Flaherty) Film Comment v26, n6 (Nov-Dec, 1990):24 (6 pages).

Fienup-Riordan, Ann.
Freeze frame: Alaska Eskimos in the movies Seattle: University of Washington Press, c1995.
MAIN: PN1995.9.E83 F54 1995
MOFF: PN1995.9.E83 F54 1995
BANC: PN1995.9.E83 F54 1995
NAS: PN1995.9.E83 F54 1995; Housed at Ethnic Studies Library.
PFA: PN1995.9.E83 F54 1995

Flaherty, Frances Hubbard.
The odyssey of a film-maker; Robert Flaherty's story. [Urbana, Ill.] Beta Phi Mu, 1960. Series title: Beta Phi Mu chapbook; no. 4.
NRLF B 3 569 655

Flaherty Frassetto, Monica
"New birth for Moana (1995)." Wide Angle; Vol.XVII nr.1-4 (1995); p.408-413
M.F.F. recalls the production of her father's documentary "Moana" and its 1926 premiere in Samoa.

Grace, Sherrill.
"Exploration As Construction: Robert Flaherty and 'Nanook of the North.'(Representing North)" Essays on Canadian Writing, n59 (Fall, 1996):123 (24 pages).
"Robert Flaherty's film 'Nanook of the North' has attained status as a classic documentary, but is actually an invented construct formed by imperialist, masculinist, and racist forces. Flaherty believed the Inuit represented a pure, primitive innocence white civilization had lost, and which 'Nanook' could recapture. However, the film's central character wore different clothes than Inuit would have worn, pretended to live in a false-front igloo, and used weapons long out of use when the film was released in 1922." [Magazine Index]

Gray, Hugh
"Robert Flaherty and the Naturalistic Documentary." Hollywood Quarterly Vol. 5, No. 1 (Autumn, 1950), pp. 41-48
UC users only

Griffith, Richard
The World of Robert Flaherty. Westport, Conn., Greenwood Press [1970, c1953].
UCB Main PN1998.A3 F43 1970

Huhndorf, Shari M.
"Nanook and His Contemporaries: Imagining Eskimos in American Culture, 1897-1922." Critical Inquiry v27, n1 (Autumn, 2000):122.
UC users only

Langer, Mark
"Rethinking Flaherty: Acoma and Hollywood." Wide Angle; Vol.XVII nr.1-4 (1995); p.239-255
Description of the failed production of R.F.'s fictional film project 'Acoma: the sky city'

Langer, Mark
"Tabu: The Making of a Film." Cinema Journal, Vol. 24, No. 3. (Spring, 1985), pp. 43-64.
UC users only

Leacock, Richard
"In defense of the Flaherty traditions. Film Culture; nr.79 (Winter 1996); p.1-6
In defence of the humanist documentary style of Robert Flaherty, filmmaker Leacock recalls the technical and artistic accomplishment of Flaherty's major films "Nanook of the North", "Moana", "Man of Aran" and "Louisiana story"; and his character as a man.

Lee, R.
"Robert Flaherty: free spirit." American Cinematographer; Vol.LXV nr.1 (Jan 1984); p.37-41
Explores the life and work of US documentarist R.F. on the occasion of the first centenary of his birth.

Marks, Dan.
"Ethnography and Ethnographic Film: From Flaherty to Asch and After." (visual ethnographers Robert Flaherty and Timothy Asch) American Anthropologist v97, n2 (June, 1995):339 (9 pages).
"Visual ethnographers Robert Flaherty and Timothy Asch's ethnographic films reflected and helped develop the methodology and themes of ethnographic research. Films such as Flaherty's 'Nanook of the North' and Asch's 'The Ax Fight' presented new approaches in ethnographic film production and subject representation. Asch's film also prefigured other ethnographers' attempts to present explanations of social data and applying such interpretations to higher-order analytical problems." [Magazine Index]

McLoone, Martin
"Man of Aran." In: The cinema of Britain and Ireland / edited by Brian McFarlane. London : Wallflower, 2005.
Main (Gardner) Stacks PN1993.5.G7 C535 2005
Pacific Film Archive PN1993.5.G7 C535 2005

Murphy, William Thomas
Robert Flaherty: A Guide to References and Resources. Boston: G. K. Hall, c1978.
UCB Main PN1998.A3 F552;
UCB Moffitt PN1998.A3 F552

Nanook revisited [video]
IMA Productions and La Sept. Princeton, N.J.: Films for the Humanities, Inc., 1994. (55 min.)
Robert Flaherty's Nanook of the North created the very genre of film documentary, with its documentation of the Inuit and Eskimo traditions. This film revisits Inukjiak, the site of Flaherty's filming to critically re-examine the realities behind the ground-breaking documentary and the changes since it was made almost 70 years ago.
UCB Media Ctr VIDEO/C 5824

Pennebaker, D.A.
"Looking back...." (film directors Robert Flaherty, Michael Powell and Jean-Luc Godard) Sight and Sound v7, n4 (April, 1997):61 (1 page).
"Robert Flaherty, Robert Powell and Jean-Luc Godard were three great directors. In 'Nanook of The North,' Flaherty courageously made a film about a person he had liked instead of doing what was dictated to him, as was the norm during his time. Powell's 'Night Mail' and 'Target for Tonight' were remarkable because they had such a strong concept. Finally, Godard impressed because of his irreverence and his disregard of convention." [Magazine Index]

Pilard, Philippe; Leacock, Richard
"Robert Flaherty." Positif; nr.412 (June 1995); p.65-75
Review of "Man of Aran" followed by a reaction from Richard Leacock to Brian Winston's article 'The white man's burden' ('Sight & Sound' LIV/1, Winter 84-85) which took a critical stance against the work and influence of Flaherty.

Rotha, Paul
Robert J. Flaherty, A Biography. Philadelphia: University of Pennsylvania Press, 1983.
UCB Main PN1998.A3 F5535 1983
UCB Moffitt PN1998.A3 F5535 1983

Rothman, William.
"The Filmmaker as Hunter: Robert Flaherty's Nanook of the North." In: Documenting the Documentary: Close Readings of Documentary Film and Video / edited by Barry Keith Grant and Jeannette Sloniowski. pp: 23-39. Detroit: Wayne State University Press, c1998. Contemporary film and television series
Main Stack PN1995.9.D6.D58 1998
Moffitt PN1995.9.D6.D58 1998

Rothman, William.
"Nanook of the North." In: Documentary film classics / William Rothman. Cambridge, Eng.; New York: Cambridge University Press, 1997.
Main Stack PN1995.9.D6.R69 1997

Ruby, Jay
"A re-examination of the early career of Robert J. Flaherty." Quarterly Review of Film Studies; Vol.V nr.4 (Fall 1980); p.431-457
UC users only
A study of the production of "Nanook of the North", with particular reference to R.F.'s use ofnarrative form, relationship between art and commerce, and his field production methods.

Ruby, Jay
"Speaking for, speaking about, speaking with, or speaking alongside: an anthropological and documentary dilemma." Journal of Film and Video; Vol.XLIV nr.1-2 (Spring-Summer 1992); p.42-66
UC users only
Contrasts the documentary approach of Dziga Vertov and Robert Flaherty (broadly: subjective and objective respectively), with recent examples of both attitudes.

Shepard, David H.
"The Nanook crisis (1960-75)." Wide Angle; Vol.XVII nr.1-4 (1995); p.372-374
Details of the restoration process carried out on deteriorating prints of "Nanook of the North

Sherwood, Robert.
"Robert Flaherty's Nanook of the North." In The Documentary Tradition / edited by Lewis Jacobs. pp. 15-20 2nd ed. New York: Norton, 1979
Main Stack PN1995.9.D6.J3 1979
Moffitt PN1995.9.D6.J3 1979)

Starr, Cecile.
"Robert Flaherty's Louisiana Story." The Southern Quarterly: A Journal of the Arts in the South vol. 23 no. 1. 1984 Fall. pp: 47-51.

van Dongen, Helen
"Robert J. Flaherty 1884-1951." Film Quarterly, Vol. 18, No. 4 (Summer, 1965), pp. 3-14
UC users only

Weaver, Mike.
Robert Flaherty's The Land. [Exeter, Eng.]: University of Exeter, American Arts Documentation Centre, c1979. Series title: American arts pamphlet; no. 5.
UCB Main NX1 .A46 no.5, (1979)

Winston, Brian
"Documentary: How the Myth Was Deconstructed." Wide Angle - Volume 21, Number 2, March 1999, pp. 71-86
UC users only

Winston, Brian
"The white man's burden."Sight & Sound; Vol.LIV nr.1 (Winter 1984-85); p.58-60
Discussion of Robert Flaherty's career which argues that his influence on the documentary tradition may not have been a good one.

Starr, Cecile.
"Robert Flaherty's Louisiana Story." The Southern Quarterly, vol. 23 no. 1. 1984 Fall. pp: 47-51.

William Greaves

Knee, Adam; Musser, Charles.
"William Greaves, Documentary Film-making, and the African-American Experience." Film Quarterly v45, n3 (Spring, 1992):13 (13 pages).
UC users only

MacDonald, Scott (ed.)
"Quote/Unquote." Wide Angle, vol. 17 no. 1-4. 1995. pp: 105-64.

John Grierson and the British Documentary Movement

Essay on the General Post Office Film Unit (British Documentary Movement)
John Grierson

Aitken, Ian.
"The British Documentary Film Movement." In: The British cinema book / edited by Robert Murphy. 2nd ed. pp: 60-67. London: British Film Institute, 2001.
Main Stack PN1993.5.G7.B66 2001

Aitken, Ian.
Film and Reform: John Grierson and the Documentary Film Movement / Ian Aitken. London; New York: Routledge, 1990. Series title: Cinema and society.
UCB Main PN1998.3.G75 A48 1990
UCB Moffitt PN1998.3.G75 A48 1990

Aitken, Ian.
"John Grierson, Idealism and the Inter-War Period."
Historical Journal of Film, Radio and Television 1989 9(3): 247-258.
"Examines the institutions, especially the University of Glasgow and the British Broadcasting Corporation, and various philosophical writings that influenced the aesthetic and cinematic ideas of Scottish documentary filmmaker John Grierson (1898-1972) during the 1920's and 1930's." [Historical Abstracts]

Bryant, Marsha
Auden and Documentary in the 1930s / Marsha Bryant. Charlottesville: University Press of Virginia, 1997.
UCB Main PR6001.U4 Z625 1997

Bryant, Marsha.
"Auden and Homoerotics of the 1930s Documentary." Mosaic (Winnipeg) v30, n2 (June, 1997):69 (24 pages).

Colls, R.
"Representing the Nation: British Documentary Film, 1930-45." Screen XXVI/1, Jan-Feb 85; p.21-33. illus.
Examination of British documentary films of 1930-45, establishing the theoretical background to the dominant documentary practice, and analysing "Fires were started" in the light of this.

Dickinson, Thorold
"The rise and fall of the British documentary." Film Comment Vol XIII nr 1 (Jan-Feb 1977); p 58-61
Dickinson reviews 'The rise and fall of the British documentary' by Elizabeth Sussex, T.D. and adds considerable information to the subject.

L'Etang, Jacqui
"John Grierson and the public relations industry in Britain" Screening the Past, Issue 7 (1 July 1999)

Ellis, Jack C.
"Changing of the guard: from the Grierson documentary to Free Cinema." Quarterly Review of Film Studies Vol VII nr 1 (Winter 1982); p 23-35 Abstract: Provides details on the decline of the Grierson documentary movement in England in the late 1940's.

Ellis, Jack C.
"Changing of the guard: from the Grierson documentary to Free Cinema." Quarterly Review of Film Studies Vol VII nr 1 (Winter 1982); p 23-35 Abstract: Provides details on the decline of the Grierson documentary movement in England in the late 1940's.

Ellis, Jack C.
John Grierson: life, contributions, influence / Jack C. Ellis. Carbondale, IL: Southern Illinois University Press, c2000.
UCB Main PN1998.3.G75 E44 2000

Ellis, Jack C.
"The final years of British documentary as the Grierson movement."Journal of Film and Video Vol XXXVI nr 4 (Fall 1984); p 41-49
The final, downfall, years of the Grierson movement.

Ellis, Jack C.
John Grierson: a guide to references and resources / Jack C. Ellis. Boston, Mass.: G.K. Hall, c1986.
Main Stack PN1998.A3; G71321 1986

Ellis, Jack C.
"John Grierson's First Years at the National Film Board." Cinema Journal, Vol. 10, No. 1 (Autumn, 1970), pp. 2-14
UC users only

Ellis, Jack C.
"The Young Grierson in America, 1924-1927The Young Grierson in America, 1924-1927." Cinema Journal, Vol. 8, No. 1 (Autumn, 1968), pp. 12-21
UC users only

Evans, Gary
John Grierson and the National Film Board: The Politics of Wartime Propaganda / Gary Evans. Toronto; Buffalo; University of Toronto Press, c1984.
UCB Main D810.P7 C24 1984

Fox, Jo.
"John Grierson, his 'documentary boys' and the british ministry of information, 1939–1942." Historical Journal of Film, Radio & Television, Aug2005, Vol. 25 Issue 3, p345-369, 25p
UC users only

From Grierson to the docu-soap: breaking the boundaries
Edited by John Izod and Richard Kilborn with Matthew Hibberd. Luton, Bedfordshire, UK: University of Luton Press, c2000.
Main Stack PN1995.9.D6.F76 2000

Gillett, Philip.
"Capturing the true moment: realism in British cinema of the late 1940s, its antecedents and its legacy." Film International , 2006, Vol. 4 Issue 24, p50-58, 9p
UC users only

Goetz, W.
"The Canadian wartime documentary 'Canada carries on' and 'The world in action'." Cinema Journal Vol XVI nr 2 (Spring 1977); p 59-80
Analysis of the Canadian World War Two propaganda series and the roles of John Grierson and Stuart Legg.

Grierson, John.
Essays on Film. In The Documentary Film Movement: An Anthology / edited and introduced by Ian Aitken. pp: 69-152. Edinburgh: Edinburgh University Press, c1998.
Main Stack PN1995.9.D6.D56 1998

Grierson [videorecording]
Reviews the life and work of documentary filmmaker John Grierson through interviews with the filmmaker, his family, friends, and professional associates. Founder of the National Film Board of Canada in 1938, Grierson was convinced that the filmmaker had a social responsibility and set a pattern for filmmaking in the public service that is still a model for the world. 59 min. 1973. VIDEO/C 9412

Grierson, John
Grierson on Documentary Revised ed. London, Faber, 1966.
Moffitt PN1995.9.D6.G75 1966
Main Stack PN1995.9.D6.G751 1947 (another edition)

Grierson, John.
Grierson on the Movies / Edited with an introduction by Forsyth Hardy. London; Boston: Faber and Faber, 1981.
UCB Main PN1995 .G687 1981;
UCB Moffitt PN1995 .G687 1981

Grierson, John.
"The last word." Films & Filming Vol XX nr 3 (Dec 1973); p 10-12
Discusses aspects of the British documentary movement, its influence on BBC-TV documentaries and others. Reprinted from the book 'The Film Business' by Ernest Betts.

Hardy, Forsyth.
John Grierson: a documentary biography / by Forsyth Hardy<1979> London; Boston: Faber, 1979
Main Stack PN1998.A3; .G7134

Jarvie, Ian C.; Macmillan, R.L.
"John Grierson on Hollywood's success, 1927."Historical Journal of Film, Radio and Television Vol IX nr 3 (Oct 1989); p 309-326
Memorandum by J.G. analysing the reasons for the success of Hollywood films as entertainment. In part II he points out the opportunities left to the UK film industry such as epic films.

John Grierson, film master
[compiled] by James Beveridge. New York: Macmillan, c1978. Holdings: Main Stack PN1998.A3; G7135
Moffitt PN1998.A3; G7135

Lovell, Alan
"The unknown cinema of Britain." Cinema Journal Vol XI nr 2 (Spring 1972); p 1-8
The history of the British cinema is surveyed with emphasis on the reasons why it has not lived up to its potential. Special attention is paid to Grierson, Jennings and Lindsay Anderson.

Lovell, Alan.
Studies in Documentary. London, Secker and Warburg [for] the British Film Institute, 1972. Series title: Cinema one, 21.
UCB Main PN1993 .C45 v.21

Low, Rachael.
Documentary and Educational Films of the 1930's. London: G. Allen & Unwin; New York: distributed by R. R. Bowker, 1979. Series title: The History of the British Film.
UCB Main PN1993.5.G7 .L6 v.5:2

MacCann, Richard Dyer.
"Documentary in England and Canada." In: The People's Films; A Political History of U.S. Government Motion Pictures. pp: 16-43. New York, Hastings House [1973]. Series title: Studies in public communication. Series title: Communication arts books.
UCB Main PN1995.9.D6 M31
UCB Moffitt PN1995.9.D6 M3

Morris, Peter
"Re-Thinking Grierson: The Ideology of John Grierson." In: T. O'Regan & B. Shoesmith eds. History on/and/in Film. Perth: History & Film Association of Australia, 1987. 20-30.

Nelson, Joyce.
The colonized eye: rethinking the Grierson legend / Joyce Nelson. Toronto: Between the Lines, c1988.
Main Stack PN1998.3.G75.N45 1988

Pratley, Gerald
"Only Grierson."Films & Filming nr 330 (Mar 1982); p 44
Explains how the tax shelter plan to encourage Canadian cinema has misfired. The importance of Grierson to film in Canada.

Pronay, Nicholas.
"John Grierson and the Documentary - 60 Years On." Historical Journal of Film, Radio and Television [Great Britain] 1989 9(3): 227-246.
Discusses the education and early career of Scottish-born filmmaker John Grierson (1898-1972), a major force in documentary films, especially at the National Film Board of Canada during World War II.

The Rise and Fall of British Documentary: The Story of the Film Movement Founded by John Grierson
Edited by Elizabeth Sussex. Berkeley: University of California Press, c1975.
UCB Main PN1995.9.D6 R51
UCB Moffitt PN1995.9.D6 R5

Sexton, Jamie
"Grierson's Machines: "Drifters," the Documentary Film Movement and the Negotiation of Modernity." Canadian Journal of Film Studies = Revue canadienne d'?tudes cinematographiques 11:1 [Spring 2002] 40-59
"The ways in which the British documentary film movement exploited certain themes and formal strategies of modernism and addressed selective components of modernity are explored. In particular, it is argued that the critical acclaim the movement received was largely due to such strategies, and to the fact that these strategies were in tune with other elements of British alternative film culture. The way in which these modernist elements were taken up in specific ways within a British alternative film environment is an extremely important factor that has been largely overlooked. Using John Grierson's 1929 film "Drifters" as an example, the author attempts to show how a specifically British form of modernist cinema was constructed and what aesthetic and ideological strategies underpinned it." [International Index to the Performing Arts]

Stansky, Peter.
London's burning: life, death and art in the Second World War / Peter Stansky and William Abrahams. Stanford, Calif.: Stanford University Press, 1994.
Main Stack NX650.W3.S73 1994

Sussex, Elizabeth
"Grierson on documentary: The Last Interview."Film Quarterly Vol XXVI nr 1 (Fall 1972); p 24-30
J.G. discusses recent trends in documentary filmmaking, his influence in the field, and some projects.
UC users only

Sussex, Elizabeth
"The golden years of Grierson."Sight & Sound Vol XLI nr 3 (Summer 1972); p 149-153
Describes Grierson's role in the British documentary movement of the 1930's, using extracts from interviews with Grierson and his colleagues.

Sussex, Elizabeth
"John Grierson."Sight & Sound Vol XLI nr 2 (Spring 1972); p 70
Reminiscences about the filmmaker and his career.

Swann, Paul.
"John Grierson and the G.P.O. FILM UNIT, 1933-1939." Historical Journal of Film, Radio and Television [Great Britain] 1983 3(1): 19-34.
Explores the relations between the civil servants administering government policy in England and that part of the documentary movement led by John Grierson, which was at the General Post Office Film Unit, 1933-39, and examines the size and nature of the audiences for the Unit's films.

Swann, Paul.
The British Documentary Film Movement, 1926-1946. Cambridge [England]; New York: Cambridge University Press, 1989. Series title: Cambridge studies in film.
UCB Main PN1995.9.D6 S881 1989
UCB Moffitt PN1995.9.D6 S88 1989
Contents via Google Books">Contents via Google Books

Tomaselli, Keyan G. and Edwin Hees.
"John Grierson in South Africa: Afrikaaner nationalism and the National Film Board" Screening the Past, Issue 7 (1 July 1999)

Ward, Kenneth.
"British Documentaries of the 1930s." History [Great Britain] 1977 62(206): 426-431.
"The significance of the British newsreels of the 1930's lies not in their political and social effects, but rather in the institutional framework whose thinking they reflect. John Grierson's theories concerning the democratic and inspirational roles of film were the basis for the work of the British documentary movement. The movement's films survive mainly as products of the harnessing of creativity to the demands of the sponsors, which included the Empire Marketing Board, the General Post Office, and other public and semipublic bodies." [Historical Abstracts]

Williams, Dean.
"Between empire and nation: Grierson in Australia." Screening the Past, Issue 7 (14 July 1999)

Winston, Brian.
Claiming the Real: the Griersonian Documentary and its Legitimations / Brian Winston. London: British Film Institute, 1995.
UCB Main PN1995.9.D6 W56 1995

Woods, David L.
"John Grierson: Documentary Film Pioneer." Quarterly Journal of Speech 1971 57(2): 221-228.
A biographical sketch of John Grierson (b. 1898), regarded by film historians as one of the fathers of the documentary film. Grierson's efforts inspired a generation of filmmakers in Britain and North America dedicated to dealing creatively and accurately on film with the problems of modern life." [Historical Abstracts]

Ying Zhu; Tongdao Zhang.
"Sun Mingjin and John Grierson, a Comparative Study of Early Chinese and British Documentary Film Movements." Asian Cinema, Spring/Summer2006, Vol. 17 Issue 1, p230-245, 16p;

Patricio Guzman

Aufderheide, P.
"The Importance of Historical Memory: An Interview with Patricio Guzman." Cineaste v. 27 no. 3 (Summer 2002) p. 22-5
UC users only

Dreifus, Claudia
"The new battle of Chile: keeping memory alive; the filmmaker who chronicled Allende's fall is still revealing his country's unspoken history." (Patricio Guzman) The New York Times Sept 6, 1998 v147 s2 pAR7(N) pAR7(L) col 1 (38 col in)

Klawans, Stuart
"Chile Reception." (Pinochet Case. movie review) S The Nation Sept 30, 2002 v275 i10 p36

Klawans, Stuart
"The Battle of Chile." (movie reviews) S The Nation Sept 28, 1998 v267 n9 p34(2)
UC users only

Klubock, Thomas Miller.
"History And Memory In Neoliberal Chile: Patricio Guzman's Obstinate Memory And The Battle of Chile." Radical History Review 2003 (85): 272-281.
UC users only

Lazzara, Michael J.
Guzman's Allende. Chasqui , nov2009, Vol. 38 Issue 2, p47-62, 16p
UC users only

Middents, Jeffrey R.
"Me moria: aesthetics, documentary and the creation of nostalgia in Patricio Guzman's Chile, memoria obsinada." In: Democracy in Chile: the legacy of September 11, 1973 / edited by Silvia Nagy-Zekmi and Fernando Leiva. Brighton; Portland: Sussex Academic Press, 2005.
Main Stack F3100.D45 2003

Moulian, Tomas
"A time of forgetting the myths of the Chilean transition." (includes related article on Patricio Guzman's film, 'Chile, Obstinate Memory')(Unearthing Memory: The Present Struggle over the Past)(Cover Story) NACLA Report on the Americas Sept-Oct 1998 v32 n2 p16(7) (3565 words)
UC users only
"The Concertacion, the coalition of the Pro-Democracy Party, the Socialist Party and the Christian Democrats, was responsible for the whitewashing operation occurring in Chile as much as it was responsible for the elimination of the dictatorship. The crimes perpetrated by the dictatorship under General Augusto Pinochet were decreed to be forgotten by the military before it handed over power to the new government. Obligatory amnesia was enforced to prevent an airing of the crimes of the former government." [Expanded Academic Index]

Rainer, Peter
"Jury without trial." (Pinochet Case: movie reviews) New York Sept 16, 2002 v35 i31 p60(1)

Riding, Alan
"Telling Chile's story, even if Chile has little interest." The New York Times Oct 3, 2002 s0 pB2(N) pE2(L) col 3 (35 col in)

Traverso, Antonio.
"Dictatorship memories: Working through trauma in Chilean post-dictatorship documentary." Continuum: Journal of Media & Cultural Studies; Feb2010, Vol. 24 Issue 1, p179-191, 13p
UC users only

Trumper, Camilo D.
"Social Violence, Political Conflict, and Latin American Film: The Politics of Place in the 'Cinema of Allende'." Radical History Review, vol. 106, pp. 109-136, Winter 2010
UC users only

Wallis, Victor
"Battle of Chile: Struggle of a People without Arms." Jump Cut: A Review of Contemporary Media, vol. 21, pp. 8-9, Nov 1979

West, Dennis
"Chile, Obstinate Memory."(Review) Cineaste Fall 1999 v24 i4 p44
UC users only

Henry Hampton

Crossley, C.
"To dream a bigger dream." Journal of Popular Film & Television, vol. 33, no. 2, pp. 94-97, 2005
UC users only
"Minority groups, tired of being overlooked by a disinterested white mainstream, are seeking ways to assert their cultural and economic contributions to American media through various means of expression. The author recalls the unique experiment created by Henry Hampton through his documentary production company Blackside, Inc., and considers it in a context of the work of other minority news organizations. Hampton was born in St. Louis, MO. He survived polio as a child, but he walked with a limp. Hampton was on track to become a doctor, like his father, but he changed course. He took a job in Boston during the height of the civil rights movement with the Unitarian Universalist Association, a leading voice of the Unitarian Church and the movement. In 1965, his employer sent him to Selma, AL, to participate with clergy in the second march across the Edmund Pettus Bridge. While struggling to keep up with the column of marchers ahead, Henry had an epiphanyThis was a story about courageous, nameless individuals, locked arm-in-arm in a battle to uphold the promise of the American Constitution. It was a story that should be preserved and bequeathed to succeeding generations and told not from the perspective of whites thought to be the enablers of civil rights, but from the point of view of foot soldiers in the trenches. Hampton wanted to tell the black side of the story. Through sheer perseverance, Hampton eventually raised the money to found Blackside, Inc., through which he and a committed group of eager souls produced a body of public television documentaries that fill a large gap in the history of the 20th century." [Communication Abstracts]

McKinley, Jesse.
"Henry Hampton dies at 58; produced 'Eyes on the Prize.'"(Obituary) New York Times v148 (sun, Nov 24, 1998):B10(L), col 1, 22 col in.

Pereira, Joseph.
"Film Maker's Success Can't Overcome Corporate Backer's Fear of Controversy." (Henry Hampton) Wall Street Journal (Fri, April 1, 1988):11(W), 13(E), col 4, 23 col in.

Deborah Hoffmann

Kort, Michele.
"Real Life." (lesbian filmmakers Dee Mosbacher, Frances Reid and Deborah Hoffmann) (Special Report: Gay Oscars) Advocate, n678 (April 4, 1995):48 (4 pages).
"Lesbian filmmakers Dee Mosbacher, Frances Reid and Deborah Hoffmann have been nominated to the Oscars. Mosbacher and Reid will be aiming for Best Documentary Short Subject while Hoffmann is vying for the Best Documentary Feature." [Expanded Academic Index]

Werner Herzog

For general books/articles about Werner Herzog documentary works, see German film bibliography

Ames, Eric.
"Herzog, Landscape, and Documentary." Cinema Journal, Winter2009, Vol. 48 Issue 2, p49-69, 21p
UC users only

Arthur, P.
"Beyond the Limits." [Documentary work of W. Herzog]. Film Comment v. 41 no. 4 (July/August 2005) p. 42-7
UC users only
"In a relentless 50-film career, documentary titles account for more than half of German director Werner Herzog's total work. Since the early 1990s, for reasons both aesthetic and economic, including lower production costs, ease of completion, and the growing market for nonfiction, documentary has become his dominant mode. These documentaries fall predominantly into two genres: portraits and travelogs, with a robust subset combining aspects of each. Given Herzog's obsession with eccentric private beliefs, he is relatively indifferent to groupings or collectivities, which are precisely those features of social context and history driving the bulk of documentary's global canon. The writer discusses Herzog's latest documentary, Grizzly Man, a film about former beach bum Timothy Treadwell, an autodidactic bear enthusiast and would-be preservationist, encamped on the Alaskan peninsula. A sidebar presents highlights from Herzog's documentary output." [Art Index]

Davidson, David.
"Borne Out Of Darkness: The Documentaries of Werner Herzog." Film Criticism, Fall80, Vol. 5 Issue 1, p10-25, 16p
UC users only

Luckhurst, Roger.
"Found-footage science fiction: Five films by Craig Baldwin, Jonathan Weiss, Werner Herzog and Patrick Keiller." Science Fiction Film & Television, 2008, Vol. 1 Issue 2, p193-214, 22p
UC users only

van Wert, William F.
"Hallowing the Ordinary, Embezzling the Everyday: Werner Herzog's Documentary Practice." Quarterly Review of Film Studies, Spring1980, Vol. 5 Issue 2, p183-192, 10p

Waller, Gregory A.
"The Great Ecstasy of the Woodsculptor Steiner": Herzog and the "Stylized" Documentary. Film Criticism, Fall80, Vol. 5 Issue 1, p26-35, 10p
UC users only

Even Dwarfs Started Small

Sebok, B. R.
"Even Dwarfs Started Small: Werner Herzog and the Aesthetics of the Grotesque." Kinema, Fall2007 Issue 28, p53-68, 16p

Great Ecstasy of the Woodsculptor Steiner

Waller, Gregory A.
"The Great Ecstasy of the Woodsculptor Steiner": Herzog and the "Stylized" Documentary. Film Criticism, Fall80, Vol. 5 Issue 1, p26-35, 10p
UC users only

Grizzly Man

Austin, Thomas
"'...To Leave the Confinements of His Humanness': Authorial voice, death and constructions of nature in Werner Herzog’s Grizzly Man." In: Rethinking documentary : new perspectives, new practices / edited by Thomas Austin and Wilma de Jong. Maidenhead, Berkshire, England ; New York : Open University Press/McGraw Hill Education, 2008.
Full text available online (UCB users only)

Main (Gardner) Stacks P96.D62 R48 2008

Baird, Daniel
"The Bird-Like Mind of Beastly Man." Border Crossings v. 25 no. 1 (March 2006) p. 88-91
UC users only
"The writer examines the idea of animals as demonic incarnations of our amoral, unknowable drives in film, literature, and art. He cites a number of examples of harrowing evocations of beasts born of humanity and lashing out against it, including Werner Herzog's documentary Grizzly Man, Ovid's Metamorphoses, and John Milton's Paradise Lost. If beasts are measures of the degree to which man is unable to come to terms with his divided animality, he argues, birds--with their miraculous grace and their defiance of the gross materiality of the world--are images of redemption, peace, and innocence that allude back to the lush, primordial bower." [Art Index]

Blumenthal, Karl-Rainer
"Of Gods and Grizzlies: The Non-Aesthetic Nature and the new Kinship of Werner Herzog and Caspar David Friedrich." Bryn Mawr College. Dept. of History of Art, 2006

Brinks, Ellen.
"Uncovering the Child in Timothy Treadwell's Feral Tale." Lion & the Unicorn, Sep2008, Vol. 32 Issue 3, p304-323, 20p
UC users only

Cooper, Rand Richards.
"Wild things: "The Constant Gardener" & "Grizzly Man".(Screen)(Movie Review)." Commonweal 132.17 (Oct 7, 2005): 21(2).
UC users only

Denby, David.
"Loners.(Broken Flowers)(Grizzly Man)(Movie Review)." The New Yorker 81.23 (August 8, 2005): 100.
UC users only

Garcia, Maria
"Grizzly Tale: Werner Herzog Chronicles Life of Ill-Fated Naturalist." Film Journal International, vol. 108, no. 8, pp. 14-16, August 2005
UC users only

Gelikman, Oleg
"'Cold Pastoral': Werner Herzog's Version of Empson." MLN, vol. 123, no. 5, pp. 1141-1162, Dec 2008
UC users only

Geller, C.
"Grizzly Man." Cineaste v. 31 no. 1 (Winter 2005) p. 52-3
UC users only
"A review of Grizzly Man, a new film by Werner Herzog. The main subject of the film is Timothy Treadwell, the self-styled naturalist who came to believe that his destiny was to be the savior of the Alaskan grizzly bears and who traveled to the Katmai National Park and Reserve for 13 summers, only to end up being killed by a bear. For this film, Herzog has taken a tiny fraction of Treadwell's compulsive video footage, mixed it with interviews, added some spare commentary of his own, and created a strange and fascinating product that is haunting and at times harrowing." [Art Index]

Jackson, Kevin
"Grizzly Man." Sight & Sound v. ns16 no. 2 (February 2006) p. 62-3
UC users only
"Werner Herzog's film is fascinating as a courageously close up view of Alaskan wildlife and as an unwittingly self condemning portrait of an artist as a would-be Tarzan of the Bears. It follows Timothy Treadwell's life among the bears in Canada up until the point when he was mauled to death by a grizzly."

James, Nick
"The greatest show on earth." Sight & Sound v. ns16 no. 2 (February 2006) p. 22-6
UC users only
"German director Werner Herzog has returned to international repute with a series of stunning documentaries, including Grizzly Man and The Wild Blue Yonder. Grizzly Man is an astounding memoir of Timothy Treadwell, who spent the last 13 summers of his life living beside grizzly bears in a remote part of the Alaskan peninsular until he was mauled to death by a bear."

Jeong, Seung-Hoon; Andrew, Dudley
"Grizzly ghost: Herzog, Bazin and the cinematic animal." Screen 2008 49(1):1-12
UC users only

Johnson, David T.
"You Must Never Listen to This": Lessons on Sound, Cinema, and Mortality from Herzog's Grizzly Man. Film Criticism, Spring2008, Vol. 32 Issue 3, p68-82, 15p
UC users only

Kover, T. R.
"The Beastly Familiarity of Wild Alterity: Debating the 'Nature' of Our Fascination with Wildness." Ethical Perspectives: Journal of the European Ethics Network, vol. 14, no. 4, pp. 431-456, December 2007

Kirkland, Kimberly A.
"The Short Happy Life of Timothy Treadwell." PsycCRITIQUES. Vol 51 (38), 2006, pp.
UC users only
"Reviews the documentary film, Grizzly Man (2005) directed by Werner Herzog. While watching the first five minutes of Werner Herzog's documentary of Timothy Treadwell's expeditions among the brown grizzly bears in Alaska's Katmai National Park and Reserve, it is easy to dismiss Treadwell as a mentally ill individual whose seeming ignorance of the gravity of "living with the bears" led to a predictable and, to some, a fitting ending. But the beauty of this film is that so much lies beyond the surface of the story, which becomes apparent as Herzog subtly invites the viewer to probe deeper into the psyche of Treadwell." [PsychInfo]

Ladino, Jennifer K.
"For the Love of Nature: Documenting Life, Death, and Animality in Grizzly Man and March of the Penguins." Isle: Interdisciplinary Studies in Literature and Environment, vol. 16, no. 1, pp. 53-90, Winter 2009

Magid, Ron
"Bearing Witness." American Cinematographer v. 86 no. 8 (August 2005) p. 28-31
UC users only
"Werner Herzog's documentary Grizzly Man provides a devastating portrait of grizzly-bear activist Timothy Treadwell, who, along with his girlfriend, Amie Huguenard, was killed and eaten by one of the very animals he loved. Treadwell's footage from his time visiting and living with grizzlies in Alaska comprises the heart of the film, but is complemented by an almost equal amount of interview and landscape footage filmed by Austria-based cinematographer Peter Zeitlinger. Grizzly Man bears a striking resemblance to Herzog and Zeitlinger's documentary My Best Fiend. Among other similarities, both films are shaped by Herzog's voiceover narration and framed by Zeitlinger's tellingly composed interviews, and both reveal Herzog's identification with the creative spirit." [Art Index]

Noys, Benjamin
"Antiphusis: Werner Herzog's Grizzly Man." Film-Philosophy, vol. 11, no. 3, pp. 38-51, 2007

Incident at Loch Ness

Chang, Chris.
"Mock doc pick: Incident at Loch Ness.(New DVD Releases)(Video Recording Review)(Brief Article)." Film Comment 41.2 (March-April 2005): 78(2). UCB users only

Eagan, Daniel.
"Incident at Loch Ness.(Buying & Booking Guide)(Movie Review)." Film Journal International 107.10 (Oct 2004): 46(1).
UC users only

Felperin, Leslie.
"Incident at Loch Ness.(Movie Review)." Variety 395.6 (June 21, 2004): 39(1).
UCB users only

Herbert, Daniel
"Real Monster/Fake Auteur: Humor, Hollywood, and Herzog in Incident at Loch Ness." Quarterly Review of Film and Video, Volume 26 Issue 5 2009 Pages 353 - 364
UC users only

Li, Jie
"Virtual Museums of Forbidden Memories: Hu Jie's Documentary Films on the Cultural Revolution." Public Culture, vol. 21, no. 3 [59], pp. 539-549, Fall 2009
UC users only

Lessons of Darkness

Bingham, Adam.
"Apocalypse then: Lessons of Darkness re-visited.(Critical Essay)." CineAction 62 (Summer 2003): 50(4).

Bozak, Nadia.
"Firepower: Herzog's pure cinema as the internal combustion of war.(Werner Herzog, Lessons of Darkness )(Critical Essay)." CineAction 68 (Wntr 2006): 18(8).

Pawelczak, A.
"Lessons of darkness." Films in Review v. 47 (January/February 1996) p. 63-4
"A review of Werner Herzog's motion picture Lessons of Darkness. A documentary about the aftermath of the Gulf War, the movie depicts the ecological devastation of Kuwait with minimum commentary. It is a total work of art, its darkly beautiful images accompanied by a ravishing soundtrack. The striking contrast between its highly civilized artistic means and the primitive violence that it depicts is its strongest trope." [Art Index]

Vogel, A.
"Lessons in darkness." Film Comment v. 28 (May/June 1992) p. 70
UC users only

Little Dieter Needs to Fly

Gerhardt, Christina
"The Allied Air Bombing Campaign of Germany in Herzog's Little Dieter Needs to Fly." In: Bombs away! : representing the air war over Europe and Japan / herausgegeben von Wilfried Wilms und William Rasch. Amsterdam ; New York, NY : Rodopi, 2006.
Main (Gardner) Stacks PN56.W3 B66 2006

My Best Fiend

Basoli, A. G. "The Wrath of Klaus Kinski: An Interview with Werner Herzog.(actor and filmmaker)(Interview)." Cineaste 24.4 (Fall 1999): 32.
UC users only
"In an interview, director Werner Herzog discusses My Best Fiend, his feature-length documentary on his work with the late actor Klaus Kinski. Kinski and Herzog's first film together, Aguirre: The Wrath of God, marked the start of a creative relationship that was to last more than 15 years and produce a further four extraordinary films, seen by many as Herzog's masterpieces. Through a tightly woven tapestry of remarkable archival footage, interviews, excerpts from the films, and personal recollections, Herzog chronicles the pivotal points of their unlikely allegiance. In the interview, Herzog discusses several topics, including what motivated the making of the documentary now, his choice of footage, how he dealt with Kinski, the affection between the two, the blurred line between documentary and fiction in his films with Kinski, and his own manifesto, the Minnesota Declaration: Truth and Fact in Documentary Cinema, which is reproduced in the article." [Art Index]

Shanahan, Antonia
"My Best Fiend." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 19, pp. (no pagination), Mar 2002

La Soufrière

Casper, Kent
"Herzog's Quotidian Apocalypse: La Soufrière." Film Criticism, Winter91, Vol. 15 Issue 2, p29-37, 9p
UC users only

Casper, Kent
"Herzog's Apocalypse as Eternal Return: The Circularity of La Soufrière." In: Perspectives on German cinema / edited by Terri Ginsberg and Kirsten Moana Thompson. New York : G.K. Hall ; London : Prentice Hall International, c1996.
Main (Gardner) Stacks PN1993.5.G3 P42 1996 AVAILABLE
Pacific Film Archive PN1993.5.G3 P42 1996

Where the Green Ants Dream

Hurley, A. W.
"Dreaming? Intercultural appropriation, representations of Aboriginality, and the process of film-making in Werner Herzog's Where the Green Ants Dream (1983)." Studies in Australasian Cinema v. 1 no. 2 (2007) p. 175-90
UC users only
"Where the Green Ants Dream, a film by Werner Herzog that thematizes the struggles of Aboriginal groups against mining companies in Northern Australia, may be flawed, but it is valuable because it illuminates the processes and pitfalls of crosscultural collaboration. Where the Green Ants Dream is problematic on a number of levels, including the fact that its feature narrative is "heavy-handed," and its hybridized documentary aspect also fails. Herzog made liberal use of Aboriginal culture to create a "personal mythology" that can be criticized as an inadequate reflection of the complexity of contemporary Aboriginal existence(s). While it can be criticized, it still has value. As protocols continue to establish the principles to be applied in relation to films dealing with Aboriginal Australia, this film can serve as a reference point for some of the practical challenges inherent in intercultural collaboration. It squarely presents the uncomfortable possibility that, in some instances, the aims of the various parties might be irreconcilable." [Art Index]

Strick, Philip
"Where the green ants dream." Films & Filming no. {359} (August 1984) p. 42

Joris Ivens

Achtenberg, Ben; Helen van Dongen.
"Helen van Dongen: An Interview." Film Quarterly, Vol. 30, No. 2. (Winter, 1976-1977), pp. 46-57.
UC users only

Arthur, Paul
"Man with the movie camera: The Dutch Filmmaker Joris Ivens traveled the World Using Cinema as a Tool of Discovery and an Instrument in the Exercise of Political Power." Film Comment Vol XXXVIII nr 2 (Mar-Apr 2002); p 47-50
Describes the work of Dutch documentary filmmaker Joris Ivens.
UC users only

Bakker, Kees
"They Are Like Horses with Blinders on': One War, Two Views: Joris Ivens and Fumio Kamei, China, 1938." Studies in Documentary Film, vol. 3, no. 1, pp. 19-33, 2009
UC users only

Betz, Albrecht; Leder, Harald (translator)
"A Source Is Revealed: A Conversation with Joris Ivens about Hanns Eisler." Historical Journal of Film, Radio and Television, vol. 18, no. 4, pp. 503-07, Fall 1998.
UC users only

Buckland, Michael Keeble
"The Kinamo Movie Camera, Emanuel Goldberg and Joris Ivens." Film History: An International Journal, vol. 20, no. 1, pp. 49-58, 2008
UC users only

Coleman, Arthur.
"Hemingway's The Spanish Earth." The Hemingway Review, vol. 2 no. 1. 1982 Fall. pp: 64-67.

Cottle, Drew; Keys, Angela; Gunn, Geoffrey.
"Joris Ivens and the Role of Film in the Indonesian Independence Movement." Asia-Pacific Journal: Japan Focus, 1/19/2009, Issue 3, p6-6, 1p

Green, Peter
"China: The Wind and Joris Ivens." Sight and Sound, vol. 58, no. 4, pp. 273-75, 1989 Autumn
UC users only

Grenier, Cynthia
"Joris Ivens: social realist versus lyric poet." Sight and Sound 27:4 (Spring 1958) Go to Journal Issue p. 204
UC users only

Guill, Stacey.
"Now You Have Seen It": Ernest Hemingway, Joris Ivens, and the Spanish Earth." Hemingway Review, Fall2010, Vol. 30 Issue 1, P51-68, 18p
UC users only

Guttmann, Allen
"Mechanized Doom: Ernest Hemingway and the Spanish Civil War." The Massachusetts Review, Vol. 1, No. 3 (Spring, 1960), pp. 541-561
UC users only

Heller, Berndt.
"The reconstruction of Eisler's film music: 'Opus III', 'Regen' and 'The circus'." Historical Journal of Film, Radio and Television Vol XVIII nr 4 (Oct 1998); p 541-559
UC users only

Hemingway, Ernest
The Spanish earth / [by] Ernest Hemingway ; with an introduction by Jasper Wood ; illustrations by F Hemingway, Ernest, 1899-1961. Cleveland : The J. B. Savage Co., 1938.
Graduate Services Modern Authors Collection XMAC.H488.S63
Bancroft (NRLF) PRS.H35S67.1938

Hitchens, Gordon
"Joris Ivens interviewed by Gordon Hitchens, November 20, 1968, American documentaries." Film Culture nr 53-54-55 (Spring 1972); p 190-219,223-228
J.I. talks about his films and tells how they came to be made. Transcript of a filmed interview made at Leipzig. Gives US sources for his films.

Hongyun, Sun
"Two China? Joris Ivens' Yukong and Antonioni's China." Studies in Documentary Film, vol. 3, no. 1, pp. 45-59, 2009
UC users only

Hughes, Ed
"New Technologies and Old Rites: Dissonance between Picture and Music in Readings of Joris Ivens's Rain." In: Composing for the screen in Germany and the USSR : cultural politics and propaganda / edited by Robynn Stilwell and Phil Powrie. Bloomington : Indiana University Press, c2008.
Music ML2075 .C66 2008

Hughes, John
"The (heterogeneous) voice of Indonesia Calling." Studies in Australasian Cinema, 2010, Vol. 4 Issue 3, p283-300, 18p
UC users only

Hughes, John
"Indonesia Calling: Joris Ivens in Australia." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 51, 2009

Ivens, Joris
The Camera and I. New York, International Publishers [1969].
UCB Main TR140.I77 A3;
UCB Moffitt TR140.I77 A3 1969

Ivens, Joris
"Joris Ivens on the search for film truth." Film Culture nr 53-54-55 (Spring 1972); p 222-223

Joris Ivens and the documentary context
Edited by Kees Bakker. Amsterdam: Amsterdam University Press, c1999. Bakker, Kees. Film culture in transition.
Main Stack PN1998.3.I87.J66 1999

Josephs, Allen
"Ernest Hemmingway's Spanish Sensibility." In: The Cambridge companion to Hemingway / edited by Scott Donaldson. New York : Cambridge University Press, 1996.
Main (Gardner) Stacks PS3515.E37 Z58417 1996

Kline, R. R.
"Ideology and the New Deal' fact film 'Power and the Land.'" Public Understanding of Science, 1997, vol. 6, no. 1, pp. 19-30(12)
UC users only

Losey, Mary.
"Joris Ivens' Power and the Land." In The Documentary Tradition / edited by Lewis Jacobs. pp. 191-94. 2nd ed. New York: Norton, 1979
Main Stack PN1995.9.D6.J3 1979;Moffitt PN1995.9.D6.J3 1979
Manifesto on the responsibilities of cinéma vérité, which first appeared in 'Les Lettres Françaises' on March 21, 1963

Joris Ivens and China / Film Archive of China and the Editorial Department of New World Press. 1st ed. Beijing: New World Press, 1983.
UCB Main PN1998.A3 I8684

MacCann, Richard Dyer.
"The Land and the Power and the Land." In: The People's Films; A Political History of U.S. Government Motion Pictures. pp: 99-104. New York, Hastings House [1973].
UCB Main PN1995.9.D6 M31; UCB Moffitt PN1995.9.D6 M3

A Moving picture feast : a filmgoer's Hemingway
Edited by Charles M. Oliver. New York : Praeger, c1989.
NRLF (UCB) PS3515.E37 Z74321 1989

Robé, Christopher.
"The Good Fight: The Spanish Civil War and U.S. Left Film Criticism." Framework: The Journal of Cinema & Media; Spring2010, Vol. 51 Issue 1, p79-107, 29p
UC users only
An essay is presented on the effect of the Spanish Civil War on the direction of U.S. Left film criticism and culture. It offers Left documentary films concerning the Spanish Civil War including "The Last Train from Madrid," "The Spanish Earth," and "Heart of Spain." It adds that the release of the film "Blockade," directed by William Dieterle got critical attention regarding the censorship of the film and free speech issues on commercial films.

Rosenbaum, Jonathan.
"A tale of the wind: Joris Ivens's last testament." In: Essential cinema : on the necessity of film canons / Jonathan Rosenbaum. Baltimore : Johns Hopkins University Press, 2004.
Main (Gardner) Stacks PN1994 .R5684 2004 AVAILABLE
Moffitt PN1994 .R5684 2004 AVAILABLE
Pacific Film Archive PN1994 .R63 2004

Sanders, David
"Ernest Hemingway's Spanish Civil War Experience." American Quarterly, Vol. 12, No. 2, Part 1. (Summer, 1960), pp. 133-143.
UC users only

Schoots, Hans
Living Dangerously : A Biography of Joris Ivens Amsterdam : Amsterdam University Press, 2000.
Full text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1998.3.I87 S362 2000
Pacific Film Archive PN1998.3.I94 S362 2000

Sergent, Jean-Pierre
"The Chinese Dream of Joris Ivens." Studies in Documentary Film, vol. 3, no. 1, pp. 61-68, 2009
UC users only

Shaffer, Deborah.
"Fifty Years of Political Filmmaking: An Interview with Joris Ivens." Cineaste, vol. 14 no. 1. 1985. pp: 12-15, 21.
J.I. offers some thoughts on the political and social aspects of documentary filmmaking and a brief autobiographical summary of his 50-year participation.

Tongdao, Zhang
"The Legend of a Filmmaker and a Country-Fifty Years of Ivens and China" Studies in Documentary Film, vol. 3, no. 1, pp. 35-44, 2009
UC users only

Vernon, Alex
Hemingway's second war : bearing witness to the Spanish Civil War / Alex Vernon. Iowa City : University of Iowa Press, c2011.
Main (Gardner) Stacks PS3515.E37 Z913 2011

Watson, William Braasch.
"Joris Ivens and the Communists: Bringing Hemingway into the Spanish Civil War." In: Blowing the Bridge: Essays on Hemingway and For Whom the Bell Tolls / edited by Rena Sanderson. New York: Greenwood Press, 1992. Contributions in American studies; no. 101
Main Stack PS3515.E37.Z5825 1992
Moffitt PS3515.E37.Z5825 1992 37-57.

Waugh, Thomas
"The 400 Million (1938) and the Solidarity Film: 'Halfway between Hollywood and Newsreel'." Studies in Documentary Film, vol. 3, no. 1, pp. 7-17, 2009
UC users only

Waugh, Thomas.
"'Men Cannot Act in Front of the Camera in the Presence of Death' Cineaste Vol XII nr 2 (1982); p 30-33
Examines Joris Ivens' early film "The Spanish earth" as a model for the contemporary leftist documentary, traces the development of the documentary movement and discusses Leo Hurwitz's three priorities for radical filmmakers.

Waugh, Thomas.
"'Men Cannot Act in Front of the Camera in the Presence of Death': Joris Iven's The Spanish Earth." In: Documenting the documentary: close readings of documentary film and video / edited by Barry Keith Grant and Jeannette Sloniowski.pp: 136-53 Detroit: Wayne State University Press, c1998. Contemporary film and television series.
Main Stack PN1995.9.D6.D58 1998
Moffitt PN1995.9.D6.D58 1998

Waugh, Thomas.
"Water, Blood, and War: Documentary Imagery of Spain from the North American Popular Front." In: The Spanish Civil War and the visual arts / edited by Kathleen M. Vernon. pp: 14-24.Ithaca, N.Y.: Center for International Studies, Cornell University, [1990] Western Societies Program occasional paper; no. 24 Cornell studies in international affairs.
Main Stack DP269.8.A7.S63 1990

Wolfe, Charles
"Historicising the 'Voice of God': the place of vocal narration in classical documentary." Film History Vol IX nr 2 (1997); p 149-167 Publication Year: 1997
Examination of voice-over narration focusing on the films "Spanish earth" and "The battle of Midway".

Wright, Basil.
"Land Without Bread and Spanish Earth." In: The Documentary Tradition / edited by Lewis Jacobs. pp. 146-48. 2nd ed. New York: Norton, 1979
Main Stack PN1995.9.D6.J3 1979
Moffitt PN1995.9.D6.J3 1979)

Zhang Tongdao.
"The legend of a filmmaker and a country - fifty years of Ivens and China." Studies in Documentary Film, 2009, Vol. 3 Issue 1, p35-44, 10p
UC users only

Steven James

Ansen, David.
"Why did Oscar drop the Ball on 'Hoop Dreams?'" Newsweek v125, n13 (March 27, 1995):71 (2 pages).

Arthur, Paul; Cutler, Janet.
"On the Rebound: 'Hoop Dreams' and its Discontents." Cineaste v21, n3 (Summer, 1995):22 (3 pages).
UC users only
Hooks, Bell.
"Dreams of Conquest." (documentary film on basketball 'Hoop Dreams') Sight and Sound v5, n4 (April, 1995):22 (2 pages).

Sandell, Jillian.
"Out of the Ghetto and into the Marketplace: 'Hoop Dreams' and the Commodification of Marginality." Socialist Review v25, n2 (Spring, 1995):57 (26 pages).

Humphrey Jennings

Anderson, Lindsay; Jennings, Humphrey
"Only Connect: Some Aspects of the Work of Humphrey Jennings." (Special Feature: Humphrey Jennings) Film Quarterly, Vol. 15, No. 2, Special Humphrey Jennings Issue. (Winter, 1961-1962), pp. 5-12.
UC users only

Beattie, Keith
"An Ambiguous National Iconography: Humphrey Jennings' Family Portrait." Studies in Documentary Film, vol. 3, no. 2, pp. 147-158, 2009
UC users only

Britton, Andrew
"Their Finest Hour: Humphrey Jennings and the British Imperial Myth of World War II." Cineaction; Fall89 Issue 18, p37-44, 8p, 8 bw

Colls, R.
"Representing the Nation: British Documentary Film, 1930-45." Screen XXVI/1, Jan-Feb 85; p.21-33. illus.
Examination of British documentary films of 1930-45, establishing the theoretical background to the dominant documentary practice, and analysing "Fires were started" in the light of this.

Cowie, Elizabeth
"Giving Voice to the Ordinary: Mass-Observation and the Documentary Film." New Formations: A Journal of Culture/Theory/Politics, vol. 44, pp. 100-09, Autumn 2001

Feaver, William.
""Humphrey Jennings."The Spectator. Nov 27, 2004. Vol. 296, Iss. 9199; p. 40 (3 pages)

The Humphrey Jennings film reader
dited by Kevin Jackson. Manchester : Carcanet, 2004.
Main PN1994 .J42 2004

Jennings, Humphry.
Essays on Film. In The Documentary Film Movement: An Anthology / edited and introduced by Ian Aitken. pp: 215-237 Edinburgh: Edinburgh University Press, c1998.
Main Stack PN1995.9.D6.D56 1998

Kassel, Elena Von.
"An Image of Britain during the Second World War: The films of Humphrey Jennings (1939-1945)." LISA e-Journal Vol. IV - n3, 2006

Mengham, Rod
"Bourgeois News: Humphrey Jennings and Charles Madge." New Formations: A Journal of Culture/Theory/Politics, vol. 44, pp. 26-33, Autumn 2001

Merralls, James
"Humphrey Jennings: A Biographical Sketch." Film Quarterly, Vol. 15, No. 2, Special Humphrey Jennings Issue. (Winter, 1961-1962), pp. 29-34.
UC users only

Miller, Tyrus
"Documentary/Modernism: Convergence and Complementarity in the 1930s." Modernism/Modernity, vol. 9, no. 2, pp. 225-41, Apr 2002
UC users only

Noxon, Gerald
"How Humphrey Jennings Came to Film." Film Quarterly, Vol. 15, No. 2, Special Humphrey Jennings Issue. (Winter, 1961-1962), pp. 19-26.
UC users only

Puttnam, David.
"Life through the lens." New Statesman. Dec 19, 2005-Jan 5, 2006. Vol. 18, Iss. 890-892; pg. 78, 2 pgs

Quart, Leonard
"Wartime Memories." Cineaste XX/3, 94; p.63-64.
UC users only
Discusses Humphrey Jennings's career, and briefly reviews his World War II documentaries "Listen to Britain" and "A Diary for Timothy", and Harry Watt's "Target for Tonight", on the occasion of their video release.

Richards, Jeffrey.
"'Fires Were Started.' (portrayal of World War II by film director Humphrey Jennings)." History Today 45.n4 (April 1995): 29(6).
UC users only

Robson, Kenneth J.
"Humphrey Jennings: The Legacy of Feeling." Quarterly Review of Film Studies, Winter1982, Vol. 7 Issue 1, p37-52, 16p
UC users only

Sansom, William.
"The Making of Fires Were Started." Film Quarterly, Vol. 15, No. 2, Special Humphrey Jennings Issue. (Winter, 1961-1962), pp. 27-29.
UC users only

Smith, A.
"Humphrey Jennings' Heart of Britain (1941): a reassessment." Historical Journal of Film, Radio and Television, vol. 23, no. 2, pp. 133-152, June 2003
UC users only
"Before the United States entered World War II, Great Britain tried to convince them to assist the country by making documentaries showing the devastation wrought by the blitz. The first of these, London Can Take It, was a powerful message and surprisingly successful. It was made with the help of Humphrey Jennings and focused on the city of London. Jennings moved to the northern part of England to escape the devastating raids, but while there Coventry experienced the raid of November 14 and 15, which provided fresh subject matter, fresh inspiration, and fresh focus. The outcome was Heart of Britain, a pivotal moment in Jennings' emergence as the poetic genius of British documentary filmmaking, the author argues. This articles focuses on the making of Heart of Britain (1941), suggesting that most commentators on Jennings' work have underestimated the film's significance. Attention is given to the director's hopes and ambitions by the autumn of 1940, not least the need to consolidate his collaborative approach to documentary film making and also, most crucially, the need to demonstrate authority, maturity, and above all, individuality within the complex creative process of reconciling cinematic vision and propagandist need. Jennings' artistic engagement with industrial England occurred against a backdrop of the GPO Film Unit's success in justifying its continued existence, and Jack Beddington's success in getting both feature and documentary filmmakers to work together following his appointment as director of the Ministry of Information's troubled film division in April 1940." [Communication Abstracts]

Cull, Nicholas John.
"London Can Take It": British Propaganda and the Blitz, September to December 1940." In: Selling war : the British propaganda campaign against American "neutrality" in World War II / Nicholas John Cull. New York ; Oxford : Oxford University Press, 1995.
Full text available online (UCB users only)
Moffitt D810.P7 G7248 1995)

Smith, Malcolm.
"Narrative and Ideology in Listen to London." In: Narrative : from Malory to motion pictures / editor : Jeremy Hawthorn. London; E. Arnold, 1985. Stratford-upon-Avon studies. Second series.
Main Stack PN212.N37 1985

Stansky, Peter.
London's burning : life, death and art in the Second World War / Peter Stansky and William Abrahams. Stanford, Calif. : Stanford University Press, 1994.
Main Stack NX650.W3.S73 1994

Thomson, David.
"A Sight for Sore Eyes." (British documentary filmmaker Humphrey Jennings) Film Comment v29, n2 (March-April, 1993):54 (6 pages).
UC users only

Winston, Brian.
Fires were started. London : BFI, 1999.
MRC: PN1997.F573 W56 1999
MAIN: PN1997.F573 W56 1999

Zaniello, T.A.
"Humphrey Jennings' Film 'Family." portrait': the velocity of imagistic change. (Article). Literature/Film Quarterly VII, 79; p.26-35.
Discusses H.J. within the context of his circle of Cambridge intellectuals and artists in the 1920's and analyses the film.

Isaac Julien

Arroyo J.
"Look back and talk black/films of Isaac Julien." Jump Cut, no. 36, p. 98, 1991.

Corris, Michael
"Heavenly bodies in motion: Isaac Julien's queer trilogy." Art Text no63 Nov 1998/Jan 1999. p. 54-9
"Isaac Julien's queer trilogy is discussed. This impressive triumvirate of film, video, and installation comprises The Attendant, Trussed, and Three, a work in progress. These works draw extensively from the artist's series of longer feature and poetic documentary films that explore complex issues of race and sex, including Looking for Langston and Young Soul Rebels. The trilogy contains the highly self-conscious poetic texture of the artist's feature-length works and also represents his attempts to negotiate the aesthetic boundary that separates film and video. In it, art in the guise of beauty convincingly reinvests recent theorizing on race and sex." [Art Index]

Diawara, Manthia.
"Black British Cinema: Spectatorship and Identity Formation in Territories." Public Culture, 1990 Fall, 3:1, 33-47.

Diawara, Manthia.
"The Absent One: The Avant-Garde and the Black Imaginary in Looking for Langston." Wide-Angle 1991, 13:3-4, 96-109.

Diawara, Manthia.
"Black British Cinema: Spectatorship and Identity Formation in Territories." In: Black British cultural studies: a reader / edited by Houston A. Baker, Jr., Manthia Diawara, and Ruth H. Lindeborg. pp: 293-305 Chicago: University of Chicago Press, c1996. Black literature and culture.
Main Stack DA125.A1.B56 1996

Garfield, Kim.
"Rebel with a camera." (film maker Isaac Julien) Advocate, n592 (Dec 17, 1991):98 (2 pages).
Julien, who is gay and black, celebrates the differences that occur in all types of relationships in his latest movie 'Young Soul Rebels.' The movie depicts both a straight and a gay interracial relationship.

Grundmann, Roy.
"Black nationhood and the rest in the West: an interview with Isaac Julien." (British filmmaker) (Interview) Cineaste v21, n1-2 (Wntr-Spring, 1995):28 (3 pages).
UC users only
"Isaac Julien's latest film, 'The Darker Side of Black,' deals with the influence of rap music on the sense of identity of Blacks not only in the UK and the US but worldwide. There is a distinct connection between the music and the cultural and economic oppression experienced by Black diasporan communities which can be traced to Jamaican cultural roots. Julien dismisses the popular belief that rap music gives rise to violence, defining rap as a product of Black peoples' environment." [Magazine Index]

"In two worlds." (interview with Isaac Julien) Sight and Sound ns9 no7 July 1999. p. 33
UC users only
In an interview, Isaac Julien discusses motion pictures and film technology. Among the topics he addresses are how digital technology has made him feel differently about cinema, how he distinguishes fine art from cinema, why many artists are now using cinema as subject matter, whether he feels more comfortable in the world of art or cinema, his plans for the future, and the contemporaries he admires.

"Interview with Isaac Julien." In: Struggles for Representation: African American Documentary Film and Video
Edited by Phyllis R. Klotman and Janet K. Cutler. pp: 364-71. Bloomington: Indiana University Press, c1999.
Main Stack PN1995.9.N4.S77 1999

Jackson, Lynne; Rasenberger, Jean.
"Young, British and Black." Cineaste 1988, 16:4, 24-25.

Jackson, Lynne; Rasenberger, Jean.
"The Passion of Remembrance: An Interview with Martina Attille and Isaac Julien." Cineaste 1988, 16:4, 23.

Jarvik, Laurence.
"British bad boy." (black-British film maker Isaac Julien) American Film v16, n6 (June, 1991):10 (1 page).

Julien, Isaac; Mercer, Kobena,
"Introduction: de margin and de centre." (race and ethnicity in film) Screen v 29 Autumn 1988. p. 2-10

Kauffman, Linda S.
"Impolitic bodies: race and desire." In: Bad girls and sick boys: fantasies in contemporary art and culture / Linda S. Kauffman. p. 83-100. Berkeley, Calif.: University of California Press, c1998.
Main Stack NX650.H74.K38 1998

Keighron, Peter.
"Into a rare groove." (film maker Isaac Julien) (Film 1) (interview) New Statesman & Society v4, n165 (August 23, 1991):29 (2 pages).

Klotman, Phyllis; Cutler, Janet.
"Interview with Isaac Julien." In: Struggles for Representation: African American Documentary Film and Video / edited by Phyllis R. Klotman and Janet K. Cutler. pp: 364-71. Bloomington: Indiana University Press, c1999.
Main Stack PN1995.9.N4.S77 1999

Mercer, Kobena.
"Dark and Lovely Too: Black Gay Men in Independent Film." In: Queer looks: perspectives on lesbian and gay film and video / editors Martha Gever, Pratibha Parma r, John Greyson. pp: 238-56 New York: Routledge, 1993.
Main Stack PN1995.9.H55.Q4 1993
Moffitt PN1995.9.H55.Q4 1993

Morrow, Bruce.
"Interview with Isaac Julien." Fuse , vol. 18, no. 4, pp. 15-23, Summer 1995.

Morrow, Bruce.
"An Interview with Isaac Julien." Callaloo 1995 Spring, 18:2, 406-15. Online: Also available at http://www.jhu.edu/muse/

Orgeron, Devin.
"Re-Membering History in Isaac Julien's The Attendant." Film Quarterly, 2000 Summer, 53:4, 32-40.
": Isaac Julien's The Attendant restructures the way avant-garde short films have been traditionally recorded and thwarts conventional notions of cinematic pleasure. The film functions within the epilogue of his enchantment with time and space, and with the trickiness of each of these categories when coupled with questions of sexuality and race. Being only eight minutes long, The Attendant lacks a coherent, linear narrative, which problematizes the possibility of narrative pleasure. The spectator also requires a certain familiarity with Julien's other work, and with art-house cinema, theory and theoreticians, and gay and lesbian film. Julien's latest work has been marginalized, but he remains a major figure in the black British independent film scene." [Art Index]

Pines, Jim.
"Territories: Interview with ISAAC JULIEN. Framework: The Journal of Cinema & Media, 1985 Issue 26/27, p2-9, 8p

Reid, Mark A.
"Diary of a Young Soul Rebel." Film Quarterly, Vol. 46, No. 1. (Autumn, 1992), pp. 56-57.
UC users only

Reid Pharr, Robert F.
"Disseminating Heterotopia." African-American-Review, 1994 Fall, 28:3, 347-57.
"Black British filmmakers Isaac Julien and Maureen Blackwood's 'The Passion of Remembrance' and African American writer Samuel Delany's 'Tales of Neveryon' are creations that show that myths are modes of communication rather than hermetically sealed objects. These works explore the distinctions between Black and non-Black and gay and straight and reveal the ambiguity inherent in apparently clear-cut categories. Acknowledging myth as process helps people understand the complexity of community politics." [Magazine Index]

Rich, B. R.
"The Long Road: Isaac Julien in Conversation with B. Ruby Rich." [interview]. Art Journal v. 61 no. 2 (Summer 2002) p. 50-67
UC users only
" In an interview, British filmmaker Isaac Julien discusses The Long Road to Mazatlan, his cinematic examination of mythic images of the cowboy within the context of gay culture and the West. Among the topics discussed are Julien's shift to working outdoors; his impressions of San Antonio, Texas, where the film was shot; and his work with musician Ben Young on the film's soundtrack." [Art Index]

Savage, Jon; Julien, Isaac.
"Queering the Pitch: a Conversation." Critical Quarterly v36, n1 (Spring, 1994):1 (12 pages).

Smyth,-Cherry
"Queer questions." Sight and Sound v 2 Sept 1992. p. 34-5

Taubin, Amy.
"Soul to soul." (interview with Isaac Julien on films he directed) (interview) Sight and Sound v1, n4 (August, 1991):14 (4 pages).

White, Armond
"Racing ahead." (Young, British and Black, the touring series of independent films) Film Comment v 24 July/Aug 1988. p. 2+
"Young, British, and Black," a touring series of independent films by the British collectives Sankofa and Black Audio Film, reveals that black independent filmmakers in Britain espouse an aesthetic that differs significantly from the one that influences their U.S. counterparts. To attract large, conservative audiences, black American filmmakers rely on standard forms of cinematic narrative but add an ethnic emphasis to the proceedings. The members of the British collectives, however, have bypassed commercial filmmaking altogether in favor of academic concerns. They have embraced an unorthodox brand of filmmaking that uses intellectual discourse to explore the issues of race, class, politics, and gay and women's rights. The five films in the series are briefly reviewed: Territories, This Is Not an AIDS Advertisement, The Passion of Remembrance, Dreaming Rivers, and Handsworth Songs." [Art Index]

Frantz Fanon: Black Skins, White Masks

Dworkin, Dennis.
"Frantz Fanon: Black Skin, White Mask."(Review) (movie review) American Historical Review v105, n1 (Feb, 2000):327 (2 pages).

Gordon, Lewis.
"Black skins masked: finding Fanon in Isaac Julien's Frantz Fanon: Black Skins, White Masks." Differences, vol. 8, no. 3, pp. 148-62, Fall 1996.
UC users only

Kahana, Jonathan.
"Cinema and the ethics of listening.(documentary filmmaker, Isaac Julien )." Film Quarterly 59.2 (Winter 2005): 19(13).
UC users only
Isaac Julien places figures like Hughes and Frantz Fanton at the center of his documentary work to propose new foundations for the interstitial identity of documentary, where a different kind of truth-claim about the imagined community of the nation is modeled. The unconventional use of documentary sound in his film Frantz Fanon carries Julien's challenge to the cinematic theory of the gaze and to the visual social order reflected in it.

Otalvaro-Hormillosa, Sonia 'Gigi'.
"Racial and Erotic Anxieties: Ambivalent Fetishization, from Fanon to Mercer." In: Postcolonial and queer theories: intersections and essays / edited by John C. Hawley. Westport, Conn.: Greenwood Press, 2001.
Main Stack PN56.H57.P67 2001

Stanton, Gareth.
"Frantz Fanon Black Skin White Mask." (movie reviews) Sight and Sound v7, n9 (Sept, 1997):42 (1 page).
"While trying to bring to life in his Frantz Fanon Black Skin White Mask the historical figure of Fanon and an entire national community, Isaac Julien moves into didacticism. The film explores the theme of the black subject as outsider in relation to white society. The irony is that although Fanon spent most of his life as an outsider, this film seems to be one for insiders." [Art Index]

Looking for Langston

Diawara, Manthia.
"The Absent One: The Avant-Garde and the Black Imaginary in 'Looking for Langston'." In: Representing Black men / edited by Marcellus Blount and George P. Cunningham. pp: 205-24 New York: Routledge, 1996.
Main Stack E185.86.R43 1996
Moffitt E185.86.R43 1996

Gates, Henry Louis, Jr.
"Looking for Modernism." In: Black American cinema / edited by Manthia Diawara. New York: Routledge, 1993.
Main Stack PN1995.9.N4.B45 1993

Grundmann, Roy.
"Looking for Langston." (motion picture review)Cineaste v 18 no1 1990 [1991]. p. 27-8
UC users only
James, Caryn.
"Looking for Langston." (Living Arts Pages) (movie reviews) New York Times v139 (Mon, Oct 2, 1989):B3(N), col 1, 16 col in.; v139, sec1 (Sun, Oct 1, 1989):61(L), col 1, 10 col in. "Looking for Langston." (Performance, 1990)
Art and Design v 9 Sept/Oct 1994. p. 22

Mercer, Kobena.
"Dark and Lovely Too: Black Gay Men in Independent Film." In: Queer looks: perspectives on lesbian and gay film and video / editors Martha Gever, Pratibha Parmar, John Greyson. pp: 238-56 New York: Routledge, 1993.
Main Stack PN1995.9.H55.Q4 1993
Moffitt PN1995.9.H55.Q4 1993

Munoz, Jose E.
"Photographies of Mourning: Melancholia and Ambivalence in Van Der Zee, Mapplethorpe, and Looking for Langston." In: Race-ing representation; voice, history, and sexuality / [edited by] Kostas Myrsiades and Linda Myrsiades. pp: 337-59 Lanham, Md.; Rowman & Littlefield Publishers, c1998. Culture and education series.
Main Stack PS153.N5.R28 1998

Shin, Chi-Yun
"Reclaiming the Corporeal: The Black Male Body and the 'Racial' Mountain in Looking for Langston." Paragraph: A Journal of Modern Critical Theory, vol. 26, no. 1-2, pp. 201-12, March 2003.

Tate, Greg
"The Cave: Greg Tate on Looking for Langston." Artforum International v 28 Dec 1989. p. 19-20

Young Soul Rebels

Henriques, Julian
"Young soul rebels." (motion picture review)Sight and Sound v 1 Sept 1991. p. 55

Nicolson, Marinella
"Young soul rebels." (motion picture review) Afterimage v 19 Dec 1991. p. 12-13

Ongiri, Amy Abugo.
"We Are Family: Black Nationalism, Black Masculinity, and the Black Gay Cultural Imagination." College Literature, 1997 Feb, 24:1, 280-94.

Ongiri, Amy Abugo.
"We Are Family: Black Nationalism, Black Masculinity, and the Black Gay Cultural Imagination." In: Race-ing representation; voice, history, and sexuality / [edited by] Kostas Myrsiades and Linda Myrsiades. pp: 231-46 Lanham, Md.; Rowman & Littlefield Publishers, c1998. Culture and education series.
Main Stack PS153.N5.R28 1998

Jim Klein

Boruszkowski, Lilly Ann.
"An Interview with Documentary Filmmaker Jim Klein." Journal of Film and Video v46, n1 (Spring, 1994):34 (9 pages).

Barbara Kopple

Espen, Hal.
"The Documentarians." (four documentary filmmakers) New Yorker v70, n5 (March 21, 1994):162 (2 pages).

Orvell, Miles.
"Documentary Film and the Power of Interrogation: 'American Dream' & 'Roger and Me'." Film Quarterly v48, n2 (Winter, 1994):10 (9 pages).
UC users only

"Kopple, Barbara." (documentary filmmaker)
Current Biography v59, n7 (July, 1998):31 (4 pages).

Maslin, Janet.
"Visionaries with their eyes on the truth." (Summer Films: Indies)(Interview) New York Times, sec2A (Sun, May 2, 1999):MT37(N), MT37(L), col 5, 110 col in.
UC users only

American Dream

"American Dream." (movie review The New York Times March 19, 1992 v141 pC16(L) col 6 (15 col in)

Christgau, Georgia
"American Dream." (movie reviews) Labor History Wntr 1993 v34 n1 p123(3)
UC users only
Crowdus, Gary. Porton, Richard.
"American Dream: An Interview with Barbara Kopple." Cineaste. 18(4):37-38, 41. 1991.
UC users only
Fink, Leon
"American Dream." (movie reviews) Journal of American History Dec 1991 v78 n3 p1188(2)

Horowitz, Roger
"American Dream." (movie reviews) American Historical Review Oct 1992 v97 n4 p1170(3)

Kauffmann, Stanley
"American Dream." (movie reviews) The New Republic April 13, 1992 v206 n15 p26(1)
UC users only

Kempton, Murray
"American Dream." (movie reviews) The New York Review of Books April 23, 1992 v39 n8 p55(1)

King, Patricia
"American Dream." (movie reviews) Newsweek April 13, 1992 v119 n15 p49(1) \

Maslin, Janet
"American Dream." (movie reviews) The New York Times Oct 6, 1990 v140 p12(N) p11(L) col 1 (19 col in)

Orvell, Miles
"Documentary film and the power of interrogation: 'American Dream' & 'Roger and Me'." Film Quarterly Winter 1994 v48 n2 p10(9) (6183 words)
UC users only
" Two documentary films, Barbara Kopple's 1991 release 'American Dream' and Michael Moore's 1989 release 'Roger and Me' discuss plant shutdowns in the Middlewestern US. Both films were popular with audiences but were filmed in different styles." [Expanded Academic Index]

Quindlen, Barbara
"Our bad dreams." (looking back on the depression of the 1990's; Kopple's documentary, "American Dream", about 1985 meatpackers' strike) (column) Anna The New York Times Oct 21, 1990 v140 p19(N) p19(L) col 1 (17 col in)

Rabinowitz, Paula.
"Sentimental Contracts: Dreams and Documents of American." In: Feminism and documentary / Diane Waldman and Janet Walker, editors. pp: 43-63. Minneapolis: University of Minnesota Press, c1999. Visible evidence; v. 5
Main Stack PN1995.9.W6.F447 1999
Moffitt PN1995.9.W6.F447 1999

Rachleff, Peter
"American Dream." (movie reviews) The Oral History Review Spring-Fall 1992 v20 n1-2 p94(3) (809 words)

Rafferty, Terrence
"American Dream." (movie reviews) The New Yorker March 23, 1992 v68 n5 p88(3)

Roberts, Sam
"American Dream." (movie reviews) The New York Times May 24, 1992 v141 s2 pH16(N) pH16(L) col 1 (32 col in)

Rule, Sheila
"A film maker balancing the inequities of life." (documentary film maker Barbara Kopple films labor dispute over five years in Austin, Minnesota to produce 'American Dream') (Living Arts Pages) The New York Times March 24, 1992 v141 pB1(N) pC11(L) col 1 (25 col in)

Travers, Peter
"American Dream." (movie reviews) Rolling Stone April 16, 1992 n628 p91(1)

Weinberg, Joel
"Union maid." (documentary filmmaker Barbara Kopple) New York March 9, 1992 v25 n10 p24(1)

Harlan County U.S.A.

Biskin, Peter.
"Harlan County U.S.A." Jump Cut no. 14, 1977, pp. 3-4)

Kaplan, E. Ann.
"Harlan County, USA: The Documentry Form." Jump Cut no. 15, 1977, pp. 11-12

Kaplan, E. Ann.
"Theory and Practice of the Realist Documentary Form in Harlan County U.S.A." In: "Show us life": toward a history and aesthetics of the committed documentary / edited by Thomas Waugh. Metuchen, N.J.: Scarecrow Press, 1984.
Main Stack PN1995.9.D6.S5 1984
Moffitt PN1995.9.D6.S5 1984

Pellet, Gail.
"The Making Of Harlan County, U.S.A.: An Interview With Barbara Kopple."Radical America 1977 11(2): 33-42.
"The film was originally subsidized by the rank and file organization, Miners for Democracy, to be a history of this group. Instead it became documentary of the strike in 1973 by a newly formed local of the United Mine Workers of America in Kentucky against the Brookside Mine owners who refused to recognize the union. The makers of the film were able to win the trust of the striking miners. This resulted in graphic footage of various aspects of the strike, including courtroom scenes and violence. Miner's wives play an important role in the film as they did in the strike. The film's funding and distribution largely came from volunteer effort. Based on an oral interview with BarbaraKopple, producer and director of the film." [America: History & Life]

Rosenthal, Alan.
"Harlan County USA." In: The Documentary conscience: a casebook in film making / [interviewer Alan Rosenthal] Berkeley: University of California Press, c1980
Main Stack PN1995.9.D6.D55
Moffitt PN1995.9.D6.D55

Wild Man Blues

Colton, Michael
"From Labor to Laughter." The Washington Post [8 May 1998] p.F1, F5
"Suggests that Barbara Kopple's film about Woody Allen "Wild Man Blues" is an attempt to repair Allen's damaged reputation. Mentions that the film gives a rare glimpse of Allen, the musician, and Allen, the boyfriend. States thatKopple's primary passion is documentaries and notes some of the films she has directed." [International Index to the Performing Arts]

Denby, David
"Wild Man Blues." (movie reviews) New York April 27, 1998 v31 n16 p57(2)

Johnson, Brian D.
"Wild Man Blues." (movie reviews) Maclean's May 4, 1998 v111 n18 p68(1)
UC users only

Kauffmann, Stanley
"Wild Man Blues." (movie reviews) The New Republic May 11, 1998 v218 n19 p28(2)
UC users only

Kennedy, Dana
"A rare tour of Woody Allen's private side." (Barbara Kopple's documentary, 'Wild Man Blues') The New York Times April 19, 1998 v147 s2 pAR15(N) pAR15(L) col 1 (31 col in)

Kroll, Jack
"Wild Man Blues." (review) Newsweek April 13, 1998 v131 n15 p73(1) (759 words)

Macdonald, Kevin
"Wild Man Blues." (movie reviews) Sight and Sound May 1998 v8 i5 p60(1)
UC users only

Maslin, Janet .
"Wild Man Blues." (movie reviews) The New York Times April 17, 1998 v147 pB18(N) pE18(L) col 1 (12 col in)

Romney, Jonathan
"Scuzzballs like us." (films by and about actor Woody Allen) Sight and Sound April 1998 v8 n4 p10(4)
"A significant number of people believe that the movies of filmmaker and actor Woody Allen are reflections of his real life experiences. This belief is clearly supported by the movies such as 'Husbands and Wives' and 'Everyone Says I Love You' and his soon-to-be-released movie 'Deconstructing Harry.' However, Allen directly denies this assertion by claiming that he has no dreams of documenting his life and sharing its details to the public. The documentary 'Wild Man Blues', directed by Barbara Kopple' depicts the real Woody Allen as a musician and as a person." [Expanded Academic Index]

Travers, Peter
"Wild Man Blues." (movie reviews) Rolling Stone April 30, 1998 n785 p74(1)
UC users only

Claude Lanzmann

separate bibliography of articles and reviews on Shoah

Pare Lorentz

Lorentz, Pare.
FDR's Moviemaker: Memoirs & Scripts / by Pare Lorentz. Reno: University of Nevada Press, c1992.
UCB Main PN1998.3.L67 A3 1992

Lorentz, Pare.
Lorentz on Film: Movies 1927 to 1941 / Pare Lorentz. New York: Hopkinson and Blake, [1975].
UCB Main PN1995 .L631;
UCB Moffitt PN1995 .L63

Lorentz, Pare.
The River, by Pare Lorentz. New York, Stackpole Sons [c1938].
UCB Main F354 .L6
UCB Morrison F354 .L6

MacCann, Richard Dyer.
"Pare Lorentz: A Bold Beginning." In: The People's Films; A Political History of U.S. Government Motion Pictures. pp: 56-87. New York, Hastings House [1973]. Series title: Studies in public communication. Series title: Communication arts books.
UCB Main PN1995.9.D6 M31
UCB Moffitt PN1995.9.D6 M3

MacCann, Richard Dyer.
"The Plow That Broke the Plains." In: The People's Films; A Political History of U.S. Government Motion Pictures. pp: 61-65. New York, Hastings House [1973]. Series title: Studies in public communication. Series title: Communication arts books.
UCB Main PN1995.9.D6 M31
UCB Moffitt PN1995.9.D6 M3

Rollins, Peter C.
"Ideology and Film Rhetoric: Three Documentaries of the New Deal Era (1936-1941)." In: Hollywood as Historian: American Film in a Cultural Context. Edited by Peter C. Rollins. pp: 32-48. Lexington, Ky.: University Press of Kentucky, c1983.
Main Stack PN1995.9.H5.H64 1983
Moffitt PN1995.9.H5.H64 1983

Snyder, Robert L.
Pare Lorentz and the Documentary Film, by Robert L. Snyder. [1st ed.]. Norman, University of Oklahoma Press [1968].
UCB Main PN1995.9.D6 S56

Whillock, David E.
"The American Farmer as Hero: An Archetypal Study of Women on the Farm as Portrayed in Country, Places in the Heart, and The River." Journal of American Culture, vol. 10 no. 3. 1987 Fall. pp: 27-31.

Wood, Gerald C.
"Bends in The River: Hollywood's Problem with Place." Appalachian Journal, vol. 12 no. 2. 1985 Winter. pp: 155-163.

The Plow That Broke the Plains

MacCann, Richard Dyer.
"The Plow That Broke the Plains." In: The People's Films; A Political History of U.S. Government Motion Pictures. pp: 61-65. New York, Hastings House [1973]. Series title: Studies in public communication. Series title: Communication arts books.
UCB Main PN1995.9.D6 M31
UCB Moffitt PN1995.9.D6 M3

Snyder, Robert L.
"The Plow That Broke the Plains." In: Pare Lorentz and the Documentary Film, by Robert L. Snyder. [1st ed.]. pp: 21-50 Norman, University of Oklahoma Press [1968].
UCB Main PN1995.9.D6 S56

The River

Adams, William.
"American Gothic: Country, The River, Places in the Heart." The Antioch Review, vol. 43 no. 2. 1985 Spring. pp: 217-224.

Lerner, Neil.
"Damming Virgil Thomson's Score for The River." Collecting visible evidence / Jane M. Gaines and Michael Renov, editors. Minneapolis; University of Minnesota Press, c1999. Renov, Michael, 1950 Visible evidence; v. 6
Main Stack PN1995.9.D6.C535 1999

MacCann, Richard Dyer.
"The River." In: The People's Films; A Political History of U.S. Government Motion Pictures. pp: 71-78. New York, Hastings House [1973]. Series title: Studies in public communication. Series title: Communication arts books.
UCB Main PN1995.9.D6 M31
UCB Moffitt PN1995.9.D6 M3

Seldes, Gilbert.
"Pare Lorentz' The River." In: The Documentary Tradition / edited by Lewis Jacobs. pp. 123-6. 2nd ed. New York: Norton, 1979
Main Stack PN1995.9.D6.J3 1979
Moffitt PN1995.9.D6.J3 1979

Snyder, Robert L.
"The River." In: Pare Lorentz and the Documentary Film, by Robert L. Snyder. [1st ed.]. pp: 50-79 Norman, University of Oklahoma Press [1968].
UCB Main PN1995.9.D6 S56

March of Time

Alexander, William
"The March of Time and the World Today." American Quarterly Vol. 29, No. 2 (Summer, 1977), pp. 182-193
UC users only

Fielding, Raymond.
The American newsreel: a complete history, 1911-1967 Jefferson, N.C.: McFarland & Co., c2006.
MAIN: PN4888.M6 F5 2006; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip0617/2006022308.html

Fielding, Raymond.
The March of Time, 1935-1951. New York: Oxford University Press, 1978.
UCB Moffitt PN4888.M6 F53

Fielding, Raymond.
"Mirror of Discontent: The March of Time and Its Politically Controversial Film Issues." The Western Political Quarterly, Vol. 12, No. 1, Part 1. (Mar., 1959), pp. 145-152.
UC users only

Fielding, Raymond.
"Time Flickers out: Notes on the Passing of the "March of Time"." The Quarterly of Film Radio and Television Vol. 11, No. 4 (Summer, 1957), pp. 354-361
UC users only

Albert and David Maysles

Barnes, Diane
"Albert Maysles: 50 Years of Reality Programming." (Brief Article) Video Age International Oct 2001 v21 i6 p32

Comer, Brooke
"Man of the people." American Cinematographer Vol LXXIX nr 1 (Jan 1998); p 77-82.
US documentary filmmaker Albert Maysles is profiled on the occasion of his receiving the 1997 President's Award from the ASC (American Society of Cinematographers).

Diamond, Jamie
"Albert Maysles' camera sees and says it all." (interview with documentary director) The New York Times Feb 13, 1994 v143 s2 pH11(N) pH11(L) col 1 (43 col in)

Direct Cinema [videorecording]
Produced and directed by Merrill Brockway. Kent, CT: Creative Arts Television Archive [distributor], c1997.
Writer-editor Jack Kroll interviews filmmakers Albert and David Maysles in 1969 about what they called at that time a "new technique of natural movie making, direct cinema." Conversation topics include how the Maysles actually filmed, how they got the subjects to agree to being filmed, and their reaction to being innovators. Program includes excerpts from their feature length film "The Salesman" in which they followed the salesmen around in an early example of "cinema verite." 52 min.
Media Resources Center Video/C 5966

Dixon, Wheeler Winston
"An Interview with Albert Maysles." Quarterly Review of Film and Video Volume 20, Number 3 / July / August / September 2003 pp. 177 - 192
UC users only

Espen, Hal.
"The Documentarians." (four documentary filmmakers) New Yorker v70, n5 (March 21, 1994):162 (2 pages).

Greer, Darroch
"Fade to Black: Albert Maysles, Director." Millimeter - The Magazine of Motion Picture and Television Production 30:6 (June 2002)
UC users only

Haycock, Joel
"Gimme Shelter by David Maysles; Albert Maysles; Charlotte Zwerin." Film Quarterly, Vol. 24, No. 4 (Summer, 1971), pp. 56-60
UC users only

Hays, Matthew
"The Gayness of Grey Gardens." Gay & Lesbian Review Worldwide, Jan/Feb2009, Vol. 16 Issue 1, p32-33, 2p
UC users only

Johnson, Sheila.
"Gimme Shelter: The Documentary Film as Art." New Orleans Review, vol. 11 no. 3-4. 1984 Fall-Winter. pp: 150-154.

Johnson, Sheila
"Gimme Shelter: The Documentary Film as Art." New Orleans Review, vol. 11, no. 3-4, pp. 150-154, Fall 1984.

Jones, Joanna.
""Quickfire: legendary film-maker Albert Maysles recalls his historic documentaries of The Beatles' arrival in the US and the murder of a fan at Altamont in 1969.(Forum)." Music Week (Feb 21, 2004): 21(1).

Kitts, Thomas M.
"Documenting, Creating, and Interpreting Moments of Definition: Monterey Pop, Woodstock, and Gimme Shelter." Journal of Popular Culture, vol. 42, no. 4, pp. 715-732, Aug 2009
UC users only

Liebman, Shana
"Q/A: Albert Maysles." The Independent Film & Video Monthly 27:8 (October 2004)
UC users only

Mamber, S..
"Cinema vérité and social concerns." Film Comment Vol IX nr 6 (Nov-Dec 1973); p 9-15.
Discusses whether cinéma vérité should concern itself with people or issues; particularly refers to "Factory", "Basic training" and "Gimme shelter".

Mamber, Stephen.
"The Maysles Brothers." In: Cinema verite in America: studies in uncontrolled documentary. Cambridge, Mass., MIT Press [1974]
Moffitt PN1993.5.U6.M24
Main Stack PN1993.5.U6.M241

Mamber, Stephen.
"Primary." Screen Vol XIII nr 2 (Summer 1972); p 83-88

Marzorati, Gerald .
"Altamont: end, and beginning." (a look at the Maysles brothers' documentary about the Rolling Stones' 1969 American tour, 'Gimme Shelter,' on the occasion of its 30-year anniversary rerelease) The New York Times August 13, 2000 pAR11(N) pAR11(L) col 1 (35 col in)

Maslin, Janet
"Grey Gardens." (movie review)_(movie reviews) The New York Times April 17, 1998 v147 pB18(N) pE18(L) col 1 (8 col in)

Naficy, Hamid
"'Truthful witness': an interview with Albert Maysles." Quarterly Review of Film Studies Vol VI nr 2 (Spring 1981); p 155-179.
Examines the definition, techniques and philosophy of documentary film, the Maysles' personal motivations and several of their films.

Rhodes, J. D.
""Concentrated ground": Grey Gardens and the cinema of the domestic." Framework: The Journal of Cinema and Media, vol. 47, no. 1, pp. 83-105, 2006
UC users only
"Grey Gardens is the East Hampton, Long Island, mansion that was the home of Big Edie Beale and Little Edie Beale and which lent its name to the eponymous 1976 documentary portrait of the two women, directed by David and Albert Maysles. That this film (beautiful, notorious, the object of cultic devotion) should derive its name from the house is fitting, for this is a film that in some very fundamental way is about the practice (albeit here a highly specific practice) of living in a house, about the inhabiting, the use and enjoyment, of domestic space. But Grey Gardens is not just any house, and Grey Gardens is not just any documentary. The author's intention here is to think specifically about the film and the house and the Edies who lived there and in so doing to privilege, at various moments, this house, Grey Gardens, to think about what ways it might have lent itself to and perhaps even left its own impress on the Edies and their fantastic methods of inhabiting it, and further, to think about how this house accommodates and is accommodated by the Maysles and their filmmaking practice." [Communication Abstracts]

Robson, K.J.
"The crystal formation: narrative structure in Grey Gardens." Cinema Journal Vol XXII nr 2 (Winter 1983); p 42-53.
UC users only

Russell, Deborah.
"Maysles, Stones reunite on VH1: filmmaker recalls shooting 'gimme shelter.' (Albert Maysles; Rolling Stones)." Billboard 106.n45 (Nov 5, 1994): 50(1).
Filmmaker Albert Maysles and rock group Rolling Stone are reunited after 25 years in the 30-minute television program, 'Conversations With The Rolling Stones.' The special is part of VH1's strategy to promote the bands latest album, 'Voodoo Lounge.' Maysles and his brother worked with the group in a chronicle entitled 'Gimme Shelter,' which featured the inside story concerning the Altamont Speedway show at California.

Schowalter Daniel F.
"Remembering the Dangers of Rock and Roll: Toward A Historical Narrative of the Rock Festival." Critical Studies in Media Communication March 2000 v17 i1 p86(17)
Author's Abstract: COPYRIGHT 2000 Speech Communication Association "This essay argues that Michael Wadleigh's documentary Woodstock (1970) and Albert and David Maysles's Gimme Shelter (1970) help trace a historical narrative which potentially chronicles the hazardous "effects" of rock music. This narrative helps explain how contemporary attacks on rock music might continue to resonate with the larger public. Like a conspirator, "the music" in these films is largely invisible yet its pernicious effects are made clear. D. A. Pennebaker's Monterey Pop (1968) is offered as a palliative which subverts the assumptions of this narrative, making its music highly visible while not exploiting representations of the audience. In doing so, Monterey Pop exposes the conspiracy logic of the narrative." [Expanded Academic Index]

Scott, A.O.
"The anti-Woodstock, coolly captured." ('Gimme Shelter')(Review)_(movie review) The New York Times August 11, 2000 pB27(N) pE29(L) col 4 (15 col in)

Scott, N.
"The Christo films: Christo's valley curtain and Running fence." Quarterly Review of Film Studies Vol VII nr 1 (1982); p 61-68.
The filmmaking technique of A.M. and D.M., together with the skill of their editors, captures the real spirit of Christo's works.

Schowalter, Daniel F.
"Remembering the Dangers of Rock and Roll: Toward a Historical Narrative of the Rock Festival." Critical Studies in Media Communication, vol. 17, no. 1, pp. 86-102, Mar 2000

Stahel, Thomas H.
"Salesman." (television program reviews) America August 25, 1990 v163 n5 p110(1)

Van Gelder, Lawrence.
"Maysles: filming the impossible." (Albert Maysles) The New York Times Oct 18, 1987 v137 s2 pH19(N) pH19(L) col 1 (40 col in)

Vogels, Jonathan B.
The direct cinema of David and Albert Maysles Carbondale: Southern Illinois University Press, c2005.
MAIN: PN1998.3.M3975 V64 2005
Table of contents http://www.loc.gov/catdir/toc/ecip055/2004029614.html

Zuber, Sharon.
"The Force Of Reality In Direct Cinema: An Interview With Albert Maysles." Post Script, Summer2007, Vol. 26 Issue 3, p6-21, 16p
UC users only

Ross McElwee

Hampl, Patricia
"Memory's Movies." In: Beyond Document: Essays on Nonfiction Film
Edited by Charles Warren. pp: 51-77 Hanover, NH: University Press of New England, c1996.
UCB Main PN1995.9.D6 B48 1996
UCB Moffitt PN1995.9.D6 B48 1996

Insdorf, Annette.
"When film makers play it by ear." New York Times v135, sec2 (Sun, Sept 7, 1986):H20(N), H20(L), col 5, 40 col in.

Lucia, Cynthia.
"When the personal becomes political: an interview with Ross McElwee." Cineaste v20, n2 (Spring, 1993):32 (6 pages).
UC users only
American filmmaker Ross McElwee tries to capture the essence of life in his films and does this in a very unconventional way. His works are characterized by eloquent voice-over narration and impromptu on-camera monologs. He injects humor in his presentation of mundane moments. However, McElwee's greatest achievement in filmmaking is seen in the subtle way he merges his political convictions with the complex patterns of human communication.

MacDonald, Scott.
"Ross McElwee." In: A critical cinema 2: interviews with independent filmmakers / Scott MacDonald. Berkeley: University of California Press, c1992.
Contents: Robert Breer -- Michael Snow -- Jonas Mekas -- Bruce Baillie -- Yoko Ono -- Anthony McCall -- Andrew Noren -- Anne Robertson -- James Benning -- Lizzie Borden -- Ross McElwee -- Su Friedrich -- Anne Severson (on Near the big Chakra) -- Laura Mulvey (on Riddles of the Sphinx) -- Trinh T. Minh-ha -- Godfrey Reggio -- Peter Watkins.
Full-text available online (UCB users only)
Main Stack PN1995.9.E96.M342 1992

MacDonald, Scott.
"Southern exposure: an interview with Ross McElwee." Film Quarterly v41, n4 (Summ, 1988):13 (13 pages).

Rhu, Lawrence F.
"Home Movies and Personal Documentaries." Cineaste v. 29 no. 3 (Summer 2004) p. 6-12
UC users only"An interview with documentary filmmaker Ross McElwee. Topics covered include his latest film Bright Leaves, the thematic issues he addresses in his films (such as family and region, father and son, medicine and filmmaking, and the Apocalypse), the rendering of time in documentary films, his belief in the importance of experimenting with the reuse of footage from previous films, his relationship with his friend and artistic muse Charleen Swansea, and the distinction between documentary and fiction." [Art Index]

Sapiro M.
"Ross McElwee - documentarian." The Independent, vol. 16, no. 9, pp. 13-14, November 1993.

Thomson, Patricia.
"Ross McElwee's high wire act." Independent Film & Video Monthly vol. 20, no. 4, pp. 34-37, May 1997.

Three documentary filmmakers : Errol Morris, Ross McElwee, Jean Rouch
Edited by William Rothman. Albany : SUNY Press, c2009.
Main (Gardner) Stacks PN1998.3.M684 T47 2009

Sherman's March

Canby, Vincent.
"Sherman's March." (movie reviews) New York Times v135, sec2 (Sept 14, 1986):H32(N), H32(L), col 2, 8 col in.; v135 (Fri, Sept 5, 1986):19(N), C12(L), col 1, 16 col in.

Fischer, Lucy
"Documentary Film and the Discourse of Hysterical/Historical Narrative: Ross McElwee's Sherman's March." In: Documenting the Documentary: Close Readings of Documentary Film and Video pp: 333-43. Wayne State University Press, c1998.
Main Stack PN1995.9.D6D58 1998
Moffitt PN1995.9.D6D58 1998

McPherson, Tara
"'Both Kinds of Arms': Remembering the Civil War." The Velvet Light Trap, 1995 Spring, 35, 3-18.

Moore, Suzanne.
"Sherman's March." (movie reviews) New Statesman & Society v1, n7 (July 22, 1988):48 (1 page).

Plantinga, Carl
"The mirror framed: a case for expression in documentary." Wide Angle; Vol.XIII nr.2 (Apr 1991); p.40-53
A consideration of US indifference to the documentary form and the omission of outstanding examples of the genre from Oscar nominations. Focuses on "Gates of heaven", "Roger and me" and "Sherman's march".

Roseman, Sharon R
"A Documentary Fiction and Ethnographic Production: An Analysis of Sherman's March." Cultural Anthropology, 1991, 6, 4, Nov, 505-524
UC users only
"The film Sherman's March (1986), by Ross McElwee, is the focus of an exploration of the potentialities & inherent restrictions of ethnographic production in cultural anthropology. An outline of the film is followed by a discussion of three theoretical themes currently debated in interpretive anthropology & other disciplines: multivocality & the authority of authors, representation & authenticity, & cultural critique & colloquiality. This particular film is a good example of parallel trends in anthropology to present in-depth critiques of the cultural & social aspects of contemporary North American regions & communities. This often involves, as does McElwee's work, a reflexive examination of the ways in which the research process & the structure of ethnographies are interrelated." [Sociological Abstracts]

Salomon, Julie.
"Sherman's March." (movie reviews) Wall Street Journal (Tue, Sept 9, 1986):28(W), 26(E), col 1, 13 col in.

"Sherman's March: an improbable search for love." (video recording reviews)
Utne Reader, n41 (Sept-Oct, 1990):147 (1 page).

Time Indefinite

Holden, Stephen.
"Time Indefinite." (movie reviews) New York Times v142 (Wed, May 12, 1993):B1(N), C13(L), col 4, 18 col in.

Kahn, Eve M.
"Ross McElwee's long march to the screen." (director of 'Sherman's March' releases new film, 'Time Indefinite,' another work of personal cinema verite) New York Times v142, sec2 (Sun, May 9, 1993):H24(N), H24(L), col 1, 20 col in.

Lenti, Paul.
"Time Indefinite." (movie reviews) Variety v351, n8 (June 28, 1993):23 (1 page).

Tracey Moffatt

Baron, Cynthia
"Films by Tracey Moffatt." In: Looking across the lens: women's studies and film / guest editor for current issue, Wendy Komar. New York: Feminist Press, 2002.
Main Stack PN1995.9.W6.L664 2002

Baron, Cynthia
"Films by Tracey Moffatt: Reclaiming First Australians' Rights, Celebrating Women's Rites." Women's Studies Quarterly, 2002, 30, 1-2, summer, 151-177
"Examines the photographic & filmic oeuvre of Australian Aboriginal Tracey Moffatt, focusing on three films that chronicle the place of First Australians in contemporary Australian culture: Nice Coloured Girls(1987); Night Cries: A Rural Tragedy(1989); & Bedevil (1993). The position of these films in Moffatt's personal development as Aboriginal woman artist is discussed, & autobiographical elements in each film are identified. The contexts surrounding the production & reception of these films are described. Moffatt's depiction of the history of First Australians' dispossession & their continuing struggle for rights is praised; specific cinematographic techniques used to convey her messages are examined, highlighting experimental elements by which she also challenges conventions of the white-male-dominated film industry." [Sociological Abstracts]

Butler, Rex
"My, sir does know what he wants'." Art Monthly Australia, no. 177, March 2005, pp. 19-20, 1 illus.
Discusses the role of black humour in contemporary art and popular cinema. The author considers the comic stereotpying in the film Crocodile Dundee (1985) by Peter Faiman, notes the use of parody in works such as Babakiueria by Geoffrey Atherden and Nice Coloured Girls (1987) by Tracey Moffat, and details the film I Don't Wanna Be A Bludger! (1999) by Destiny Deacon. He focuses on Deacon's installation work My living room, Brunswick 3056 (1996/2004), and examines how black humour relates to the idea of the indigenous in Australian art.

Falconer, Morgan.
"Silver scream." Art Review (U.K.), vol. 53, May 2001, pp. 48-9
Profiles the Australian photographer and filmmaker Tracey Moffatt and discusses her work. The author describes Moffatt's oeuvre as a dream world in which violence, boredom, and memory are the main themes, considers the extent to which her work can be deemed autobiographical, referring in particular to her Aboriginal parentage and upbringing in a white family, and comments on her use of the 19th century photographic technique of photogravure. He studies her series Laudanum and Invocations (2000; illus.), and considers her portrayal of women, children, and the Australian outback.

French, Lisa
"An Analysis of Nice Coloured Girls (Tracey Moffatt)." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 5, pp. (no pagination), Spring 2000.

Kaplan, E. Ann.
"The Ethics of Witnessing: Maya Deren and Tracey Moffatt. In: Trauma culture: the politics of terror and loss in media and literature. New Brunswick, N.J.: Rutgers University Press, c2005.
Main Stack PN1995.9.T46.K37 2005

Kemp, Peter.
"Night Cries: A Rural Tragedy." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 5, pp. (no pagination), Spring 2000.

Michael Moore

Georgakas, Dan; Saltz, Barbara
"Michael and us: an interview with Michael Moore." Cineaste Vol XXIII nr 3 (Apr 1998); p 4-7
UC users only
Interview with Michael Moore before the opening of his film "The Big One". Discussion of that film, his humor and documentary satire style, and of leftist critiques of his work.

Jacobson, H.
"A Leader on the left meets a follower of the left behind: Michael & me." [Michael Moore interviewed]. Film Comment v. 25 (November/December 1989) p. 16-18+

Kellner, Douglas
"Michael Moore, Emile de Antonio, and the Politics of Documentary Film." In: Cinema wars: Hollywood film and politics in the Bush-Cheney era / Douglas Kellner. Malden, MA : Wiley-Blackwell, 2010.
Full text available online (UC Berkeley users only)

Larner, Jesse.
Forgive us our spins: Michael Moore and the future of the Left Hoboken, N.J.: J. Wiley & Sons, c2006.
Main: PN1998.3.M665 L37 2006; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip065/2005036099.html

MacFarquhar, Larissa
"The Populist: Michael Moore Can Make You Cry." New Yorker, vol. 80, no. 1, pp. 132-45, February 2004

Mattson, Kevin
"The Perils of Michael Moore: Political Criticism in an Age of Entertainment." Dissent, 2003, 50, 2(211), spring, 75-80
"Analyzes the work of Michael Moore, one of America's most prominent leftists, who has used the rich tradition of leftist political criticism & muckraking combined with postmodern irony & humor to make political criticism entertaining. Moore has successfully competed in the media-saturated world of postmodern America to reach the 18-34 age group via satellite TV & mega-mall bookstores. However, by capitalizing on entertainment, Moore's work is focused on his own issues & not the political activity of others, & his focus on humor leaves him somewhat apolitical & unable to move beyond the limits of entertainment. He faces the same inefficacy as the majority of the Left who are angry, but lack political solutions & realistic approaches to achieve lasting change." [Sociological Abstracts]

"Michael Moore: Cinematic Historian or Propagandist? A Historians Film Committee Panel Presented at the 2005 American Historical Association Meeting." [Special section]. Film & History v. 35 no. 2 (2005) p. 7-16
UC users only
A special section on Michael Moore's documentary Farenheit 9/11. Articles feature the comments of four historians who participated in a panel on the film and the issues it raises for historians and other scholars, which was presented by the Historians Film Committee at the meeting of the American Historical Association, Seattle, in January 2005.

Mintz, Steven
"Michael Moore and the Re-Birth of the Documentary." Film and History: An Interdisciplinary Journal of Film and Television Studies, vol. 35, no. 2, pp. 10-11, 2005
UC users only

Misiak, A.
"Not a stupid white man: The democratic context of Michael Moore's documentaries." Journal of Popular Film & Television, vol. 33, no. 3, pp. 160-168, 2005
UC users only
"The controversial documentaries by Michael Moore have provoked public debate on social and political matters since the end of the 1980s. With his films, books, and speeches, Moore attempts to ignite an essential democratic impulse among American citizens. He assumes the role of a provocateur who raises the consciousness of his audiences and offers a polemical voice to the power elite. Whereas Moore's advocates recognize his output as an admirable practical realization of the free speech principle, his adversaries often perceive him as a menace to democratic procedures. Considering the nationwide dispute and the popularity of his movies around the world, the director should be acknowledged as a significant phenomenon on the American political scene at the dawn of the 21st century. The author presents the award-winning director Michael Moore as a social phenomenon. His controversial documentary works and public speeches are shown in the context of American democracy. Moore's output is seen through the prism of cultural hegemony as described by Gramsci. Moore's documentaries perfectly fit the current American public debate. Articulating a leftist perspective, he preserves the equipoise of the political discourse. In his movies, Moore presents his subjective opinions, but at the same time he speaks out for a part of the American left. While filling the leftist niche in the public debate, he manages to make his voice heard, and in turn he hopes to convince not only declared leftists but the whole society of his perspective." [Communication Abstracts]

Mintz, Steven
"Michael Moore and the Re-Birth of the Documentary." Film & History: An Interdisciplinary Journal of Film and Television Studies 35.2 (2005) 10-11
UC users only

Moore, Michael
"An Interview with Michael Moore." Tikkun 13 N-D 1998, p 25,29-32.

Rapoport, Roger.
Citizen Moore: the life and times of an American iconoclast Muskegon, Mich.: RDR Books, c2007.
MOFF: PN1998.3.M665 R37 2007

Schultz, Emily
Michael Moore: a biography Toronto: ECW Press, c2005.
Full text available online (UC Berkeley users only)
MAIN: PN1998.3.M64 S38 2005

Spence, Louise
"Working-Class Hero: Michael Moore's Authorial Voice and Persona." Journal of Popular Culture, vol. 43, no. 2, pp. 368-380, Apr 2010
UC users only

Tibbetts, John C.
"An Interview with Michael Moore." Film & History: An Interdisciplinary Journal of Film and Television Studies 34.2 (2004) 86-88
UC users only

Watson, Garry.
"The Documentary Films of Citizen Activist Michael Moore: A Man on a Mission Or How Far a Reinvigorated Populism Can Take Us." Cineaction, 2006 Issue 70, p3-15, 13p
UC users only

Bowling for Columbine

Briley, Ron.
"Bowling for Columbine." The Journal of American History. Bl Dec 2003. Vol. 90, Iss. 3; p. 1144
UC users only

Cooper, Rand Richards .
"Realpolitik: `Trials of Henry Kissinger' & `Bowling for Columbine'." (Screen). Commonweal Nov 22, 2002 v129 i20 p18 (1470 words)
UC users only

Corliss, Richard.
"Blood Bath and Beyond: Guerrilla filmmaker Michael Moore takes aim at American gun culture, and makes a terrific movie." (The Arts/Movies)('Bowling for Columbine') (movie review) Time Oct 7, 2002 v160 i15 p89 (783 words)
UC users only

Denby, David .
"CLOSEUPS." (two movies) The New Yorker Oct 28, 2002 v78 i32 pN/A (1464 words)

Doherty, Brian.
"Tears of a clown: Michael Moore and the impotence of leftist politics." (Rant). ('Bowling for Columbine' )(Movie Review) Reason Jan 2003 v34 i8 p20(1) (661 words)
UC users only

Ecksel, Robert
"Bowling a Strike for Columbine: Michael Moore hits the screen with both barrels blasting." Bright Lights Issue 40

Economopoulos, Spiro.
"Burning Down the House: Bowling for Columbine." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 24: (no pagination). 2003 Jan-Feb.

Finn, P.
"Bowling for Columbine." Film & History v. 33 no. 1 (2003) p. 65-6
UC users only
"A review of Bowling for Columbine, a documentary film directed by Michael Moore. This engaging film examines the American gun debate through the lens of some recent tragedies involving gun deaths. Moore creates a film that is both frightening and entertaining by employing a mixture of stock footage, cartoons, montages, and interviews. He contends that white Americans are united by an all-encompassing fear that makes them viciously dangerous. The film thus presents an interesting argument--that the trauma of America's violent past is driving the nation into a fear that is manipulated by corporations such as Lockheed Martin." [Art Index]

Gage, Carolyn.
"Bowling for Columbine: Michael Moore Off-Target." (Review). off our backs Jan-Feb 2003 p51(4) (2362 words)
UC users only

Georgakas, Dan; Saltz, Barbara
"Michael and Us: An Interview with Michael Moore." Cineaste: America's Leading Magazine on the Art and Politics of the Cinema, vol. 23, no. 3, pp. 4-7, 1998
UC users only

Hallett, Vicky.
"He shoots first and asks questions at the same time." U.S. News & World Report. Oct 14, 2002. Vol. 133, Iss. 14; p. 56
UC users only

Holm, Nancy Graham
"Hyperbole and Fear: The Politics in Bowling for Columbine." p.o.v. Number 16, December 2003

Jackson, Trevor
"Bowling for Columbine." (Movie Review) . British Medical Journal Nov 23, 2002 v325 i7374 p1247(1) (500 words) f" border=0>UC users only

Johnson, Brian D.
"Staring Down The Barrel Of A Gun: With Canadian Money And Yank Moxie, Michael Moore Takes Aim At The Fear And Loathing Behind America's Fetish For Firearms." (Bowling For Columbine) Maclean's Oct 21, 2002 P34 (1891 Words)
UC users only

Kauffmann, Stanley
"On Films - Real Women, Problematic Men." ('Real Women have Curves' and 'Bowling for Columbine')(Movie Review) The New Republic Nov 11, 2002 p22 (1335 words)
UC users only

Kelly, R.
"Bowling for Columbine." Sight & Sound v. ns12 no. 11 (November 2002)
UC users only

Kellner, Douglas
"Bowling For Columbine and Exploratory Documentary Montage." In: Cinema wars: Hollywood film and politics in the Bush-Cheney era / Douglas Kellner. Malden, MA : Wiley-Blackwell, 2010.
Full text available online (UC Berkeley users only)

Kerr, Philip.
"A hit by a high school marksman: Philip Kerr on how the fat man of American satire blows apart the gun culture." (Film). (Bowling for Columbine)(Movie Review) New Statesman (1996) Nov 18, 2002 v131 i4614 p45(1) (818 words)
UC users only

Klawans, Stuart
"Moore's dystopia." Film Comment Vol XXXVIII nr 6 (Nov-Dec 2002); p 32-35
Looks at Michael Moore's film about the American culture of violence, "Bowling for Columbine".
UC users only

Korman, Ken
"Bowling for Columbine / Roger & Me." Sound & Vision. New York: Nov 2003. Vol. 68, Iss. 9; p. 126

Lally, Kevin.
"Bowling for Columbine." (Movie Review) Film Journal International Nov 2002 v105 i11 p37(2) (769 words)

Larner, Jesse.
Forgive us our spins: Michael Moore and the future of the Left Hoboken, N.J.: J. Wiley & Sons, c2006.
MAIN: PN1998.3.M665 L37 2006
Table of contents http://www.loc.gov/catdir/toc/ecip065/2005036099.html

Leyland, Matthew.
"Bowling for Columbine." (review) Sight and Sound. May 2003. Vol. 13, Iss. 5; pg. 66

Lofton, John
"Bowling for Columbine throws one too many gutterballs." Human Events. Feb 3, 2003. Vol. 59, Iss. 5; p. 32 (1 page)
UC users only

McEvoy, Dermot.
Bareknuckle liberal." Publishers Weekly. New York: Oct 20, 2003. Vol. 250, Iss. 42; pg. 30
UC users only
"A conversation with [Michael Moore] wouldn't be complete without asking about his war protest, along with all the other documentary nominees, when he won the Oscar for Best Documentary for Bowling for Columbine. "I was extremely nervous. First of all, I didn't think we were going to win, so that surprised me. And then all the way up to the stage I'm just thinking: 'Just blow them a kiss and walk off with the statue. Don't say anything.' It's my moment." [ProQuest]

Moore, Michael.
"Fear and goading." (Bowling for Columbine)(Movie Review) TLS. Times Literary Supplement Dec 13, 2002 i5202 p20(1)

Mundell, Meg
"The cold, dead heart of gun toting America: Michael Moore's Bowling for Columbine." Metro Magazine Wntr 2003 i135 p70(6) (2563 words)

Ordonez-Jasis,Rosario; Jasis, Pablo
"Bowling for Columbine: Critically Interrogating the Industry of Fear." Social Justice. 2003. Vol. 30, Iss. 3; p. 127 (7 pages)
"Offers a critical review of Michael Moore's documentary film, Bowling for Columbine, which examined the US gun culture in the wake of the massacre at Columbine High School in Littleton, CO, by 2 gun-toting students on 20 Apr 1999. The film focuses on how the media, corporations, political structures, & the powerful gun lobby create a climate in which violence is legitimized. The roots of such violence & its perpetuation within a climate of fear, silence, & conformity are analyzed. The events at Columbine are presented as a microcosm of domestic & international violence perpetrated by the US itself. It is hoped that the film will evoke moral outrage & facilitate change.' [Sociological Abstracts]

Ronson, Jon.
"The egos have landed." (Michael Moore's 'Bowling for Columbine') Sight and Sound Nov 2002 v12 i11 p20(4)
"The current Nouvelles Egotistes movement in documentary filmmaking is analyzed by one of its members, Jon Ronson, in light of the release of 'Bowling for Columbine' from fellow member Michael Moore. The ultimate message from 'Bowling for Columbine' is a film about fear." [Expanded Academic Index]

Schickel, Richard
"The Alternate Realities Of Hot Documentaries: Three nonfiction films are attracting lots of attention this summer--maybe for the wrong reason." (Movies) Time July 14, 2003 v162 i2 p67 (744 words)
UC users only

Schultz, Emily
Michael Moore: a biography Toronto: ECW Press, c2005.
MAIN: PN1998.3.M64 S38 2005

Scott, A.O.
"Seeking a smoking gun in U.S. violence." (Bowling for Columbine)(Weekend)_(movie review) The New York Times Oct 11, 2002 pB12(N) pE13(L) col 4 (28 col in)
Sharrett, Christopher and Luhr, William
"Bowling for Columbine." (Film Reviews). (Movie Review) Cineaste Spring 2003 v28 i2 p36(4) (2970 words)
UC users only

Skovmand, Louise Kj?r.
"Bowling for Columbine: 'I Want Them to Leave Angry'." p.o.v: A Danish Journal of Film Studies. 16: 18-25. 2003 Dec.

Sorensen, Nancy Graham
"The Camera Is Mightier Than The Gun: Bowling for Columbine." p.o.v. Number 16, December 2003

Spivey, Ed Jr.
"Taking aim." (Film). (Bowling for Columbine.)(Movie Review) Sojourners Jan-Feb 2003 v32 i1 p52(2) (576 words) if" border=0>UC users only

Stone, Alan A.
"Breaking Faith: Bowling for Columbine." (Movie Review) Psychiatric Times August 1, 2003 p88 (2719 words)

Thomas, Dana.
"Americans and Guns: Michael Moore's provocative new documentary triesto come to grips with a school massacre in Colorado." (Bowling for Columbine)(Brief Article) Newsweek International June 3, 2002 p62 (726 words)

Udovitch, Mim
"Michael Moore takes aim." (Interview) Rolling Stone Nov 28, 2002 i910 p26(2)
UC users only

Waak. Erika .
"Bowling for Columbine: Are We a Nation of Gun Nuts or Are We Just Nuts?" (Movie Review) The Humanist March-April 2003 v63 i2 p41(1) (700 words)
UC users only

Winter, Amy.
"Bowling for Columbine: An Open Letter to Michael Moore." (Review). off our backs Jan-Feb 2003 p55(2) (1022 words)
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Fahrenheit 9/11

Briley, Ron
"Fahrenheit 9/11: Michael Moore Heats It Up." Film and History, vol. 35, no. 2, pp. 11-12, 2005
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Carrey, Normand.
"Agit-doc.(The Left Atrium)(The Fog of War)(The Corporation)(Fahrenheit 9/11)(Movie Review)." CMAJ: Canadian Medical Association Journal 171.6 (Sept 14, 2004): 617(2).

Cooper, Rand Richards.
"At war: 'Fahrenheit 9/11' & 'Control Room'.(Screen)(Movie Review)." Commonweal 131.14 (August 13, 2004): 26(2).
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Christensen, Christian.
"The politics of a political film thoughts on 'Fahrenheit 9/11'." Australian Screen Education 37 (Winter 2004): 20(5).
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Cialdini, Robert
"All in the cards?" PsycCRITIQUES. Vol 49 (Suppl 6), 2004, pp. [np]
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"The reviewer discusses the controversies surrounding Michael Moore's movie, Fahrenheit 9/11, and Michael Moore's reaction to his critics. The reviewer notes that for the most part, Moore does a masterful job of comprehending (no doubt implicitly) the lessons of relevant social scientific findings and aligning important components of his film with them. He makes some errors, as well, many of which involve the mistake of giving audience enough time to generate counterarguments against certain questionable propositions or images in the film. The movie offers a variety of additional persuasion-related devices. The reviewer notes that even the attempted suppression of a message leads audience members to seek greater exposure to the information and, tellingly, to be more persuaded by it. Therefore the strong criticisms of the film have undoubtedly created more interest in it Not too long ago, some social scientists doubted whether mass media messages had measurable effects on beliefs and behaviors. That is no longer the case. Their impact on everything from consumer decisions to suicide choices is demonstrable." [PsycINFO]

Economou, Rose.
"Documentaries raise questions journalists should ask themselves: 'have they delved deeply enough into issues surrounding the nation's war on terror and its homeland security?'.(War and Terror)(Movie Review)." Nieman Reports 58.3 (Fall 2004): 81(2).

Fleischmann, Aloys.
"The Rhetorical Function of Comedy in Michael Moore's Fahrenheit 9/11." Mosaic: A Journal for the Interdisciplinary Study of Literature, Dec2007, Vol. 40 Issue 4, p69-85, 17p
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Gehl, Robert
"'Why Aren't We Seeing This Now?': Public(cized) Torture in 'The Passion of the Christ' and 'Fahrenheit 9/11'" Nebula, vol. 1, no. 2, pp. 37-47, September 2004

Goodnight, G. Thomas
"The Passion of the Christ Meets Fahrenheit 9/11." American Behavioral Scientist, Vol. 49, No. 3, 410-435 (2005)
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"Why are The Passion of the Christand Fahrenheit 9/11mentioned in the same breath when referring to the political campaigns of 2004? What role did these films play in the election debate? How did television code reception, at once expanding and disciplining, tantalizing and moralizing the public? The article examines the entwinement of entertainment, media, and politics in national debate, as the most talked about films of 2004 transmute wartime suffering into political purpose, each serving a similar function for respective Republican and Democratic campaigns and each generating controversy stirred and strangled by televisual critics. The article concludes by advocating a role for critical inquiry into celebrity advocacy?as artistic enactment, stylistic vision, and mass media promotion. Studies of the multiple dimensions of celebrity advocacy should augment significantly our contemporary discussions of deliberative democracy."

Higgins, Lynn A.
"Documentary in an Age of Terror." South Central Review 22.2 (2005) 20-38
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Jones, K.
"This means war!"[M. Moore's Fahrenheit 9/11]. Film Comment v. 40 no. 4 (July/August 2004) p. 18-20
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"Michael Moore's Fahrenheit 9/11 reveals the anguish that is now central to America's wartime reality. Although the film begins by examining the connection between the Bush and bin Laden families, it is merely a prelude to a devastating lament for the young men and women recruited from America's poorest areas who place themselves in harm's way for a cause that has so far been unjustified. Fahrenheit 9/11 is far removed from the buffoonish self-aggrandizement of Moore's Bowling for Columbine, which lacked much of a subject beyond the fact that there are loads of guns in America. In his latest work, Moore is so outraged at the trickery that has been perpetrated in the name of September 11, 2001, terrorist attacks that he has sharpened his mind and rhetoric significantly." [Art Index]

Hoskin, Dave.
"I like your old stuff better than your new stuff: Fahrenheit 9/11.(Movie Review)." Metro Magazine 142 (Fall 2004): 118(5).

Keeton, Patricia
"Reevaluating the "Old" Cold War: A Dialectical Reading of Two 9/11 Narratives." Cinema Journal - 43, Number 4, Summer 2004, pp. 114-121 Keeton, Patricia
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Kellner, Douglas
"Fahrenheit 9/11 and Partisan Interventionist Cinema." In: Cinema wars: Hollywood film and politics in the Bush-Cheney era / Douglas Kellner. Malden, MA : Wiley-Blackwell, 2010.
Full text available online (UC Berkeley users only)

Koopman, Cheryl1; Butler, Lisa; Palesh, Oxana1; McDermott, Rose; Forero-Puerta, Tatiana1; Das, Bibi1; Poindexter, Tracy; Endress, Patrick
"The Effects of Watching Michael Moore's Fahrenheit 9/11 on Voting Intentions, Mood, and Beliefs About Why President Bush and His Administration Initiated War in Iraq." Peace and Conflict: Journal of Peace Psychology. Vol 12(2), 2006, pp. 139-156
"This study evaluated the effects of viewing Moore's film Fahrenheit 9/11 with a survey conducted in 4 California theaters. Seventy-three prefilm participants completed surveys as they were about to see the film, and 127 postfilm participants completed surveys as they exited the theater (N = 200). Compared to prefilm participants, postfilm participants were more likely to attribute the war to President Bush, Vice President Cheney, oil companies, defense contractors, and the Saudi leaders. Also, postfilm participants were more likely to see a desire for oil and global domination as motivations behind the Bush administration's initiation of the war and less likely to endorse the Bush Administration's rationales. Furthermore, postfilm participants viewed President Bush more negatively, reported less likelihood that they would vote for Bush for President, and they felt angrier, more fearful, and sadder. These results indicate that a documentary film can have significant immediate effects in the direction intended by the film's creators on political beliefs about war, voting intentions, and mood." [PsychInfo]

Langenbacher, Eric.
"The degeneration of American political culture and the documentary film in Fahrenheit 9/11." The Forum 2.3 (July 19, 2004): NA.

Levin, Jane.
"Fahrenheit 9/11: powerful expose or pulp fiction?(Critical Essay)." Australian Screen Education 36 (Autumn 2004): 26(7).
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Laskowski, Nicole
"Michael Moore and Fahrenheit 9/11." Jump Cut: A Review of Contemporary Media, vol. 47, pp. (no pagination), Winter 2005
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Lidinsky, April
"The Gender of War. What Fahrenheit 9/11's Women (Don't) Say." International Feminist Journal of Politics, 2005, 7, 1, Mar, 142-146.
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"Examines the role of women in politics, power and war as portrayed in Michael Moore's film, Fahrenheit 9/11. Moore is very critical about the mass media coverage of the war, but he himself does not adequately portray the coverage or the actuality of what women did as a part of the war, including the role of then National Security Advisor Condoleeza Rice." [CSA Worldwide Political Science Abstracts]

Mattson, Kevin.
"More and Moore.(Michael Moore)." Dissent 51.4 (Fall 2004): 85(4).
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Michael Moore in his film Fahrenheit 9/11 tries to expose the Bush's presidency that is an administration of concealment, prone to stifle independent inquiry. The problem is the contemporary political culture where young people get their news from entertainment sources that mistake fiction for fact.

McKibbin, Tony
"The Thickening Centre: Fahrenheit 9/11." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 33, pp. (no pagination), Fall 2004

Menand, Louis
"Nanook and Me: 'Fahrenheit 9/11' and the Documentary Tradition." New Yorker, vol. 80, no. 22, pp. 90-96, August 2004

"Michael Moore's Summer Blockbuster." [Editorial]Cineaste v. 29 no. 4 (Fall 2004) p. 1
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"The writers celebrate the contributions of documentary filmmakers to rejuvenating political debate in the United States. Even if Michael Moore's Fahrenheit 9/11 does nothing more than encourage registered Democrats to get out and vote against George W. Bush, it will play a significant role in the 2004 presidential election. Too often, the mainstream press appears unwilling or unable to ask hard questions or deal with bigger issues. By investigating stories otherwise overlooked, independent documentary filmmakers have fulfilled the promise and potential of free speech, in particular political speech, enshrined in the First Amendment." [Art Index]

Moore, Michael
The official Fahrenheit 9/11 reader New York: Simon & Schuster Paperbacks, 2004.
MAIN: E902 .M655 2004

Nolley, Ken
"Fahrenheit 9/11: Documentary, Truth-Telling, and Politics." Film and History, vol. 35, no. 2, pp. 12-16, 2005
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"Part of a special section on Michael Moore's documentary Farenheit 9/11. Criticism of the film is examined on the basis of the online responses provided by list members of the group H-Film after the film's release in June 2004. These responses, which were mirrored by discussions of the film on the Internet and in the mainstream media, conformed to a tight pattern: Moore's detractors (mostly conservatives) tended to criticize him more directly than his film and attacked his veracity as well as his ethics; his defenders (mostly liberals) tended to cast their responses in terms of a wider political discourse. A better job can be done in criticizing this film by seeking to sort through the claims made by the narrator's voice in it and the filmic evidence itself, and considering more of the context of its production and the circumstances under which it emerged." [Art Index]

O'Connor, John E.
"Introduction: Historians on Michael Moore and Fahrenheit 9/11." Film & History: An Interdisciplinary Journal of Film and Television Studies 35.2 (2005) 7
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Porton, Richard
"Weapon of Mass Instruction: Michael Moore's Fahrenheit 9/11." Cineaste vol. 29, no. 4, pp. 3-7, Fall 2004
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"The writer discusses Fahrenheit 9/11, a documentary film directed by Michael Moore. As a popularizer, Moore, compresses and synthesizes a large amount of research and invective that emerged in the alternative presses and a number of post "9/11" best sellers. Though this film is arguably the most straightforward and rhetorically effective film made by Moore so far, it derives its considerable verve as ad hoc rabble-rousing from a clever fusion of the documentary-essay tradition with a host of other nonfiction genres. In certain ways, the focus on the Iraqi invasion and occupation in the film's latter half represents a conscious effort to counteract most journalists' escape from responsibility as they willingly agree to be muzzled by the White House and the Pentagon. Though occasionally unnuanced, the film never reduces the outbreak of war to a single cause and never denies that wars have multiple causes. It may be aimed squarely at George W. Bush, but each viewer must come up with an interpretation of its multifaceted agenda." [Art Index]

Ramsey, Joseph G.
"Left Docudrama 2004." Socialism and Democracy, 2005, 19, 1(37), Mar, 169-180.
"Discusses the possibilities for analytical thinking about US society due to three critical documentary films of 2004: Fahrenheit 9/11, Hijacking Catastrophe, & The Corporation. Michael Moore's Fahrenheit 9/11 is commended for identifying radical instances but denounced for failing to develop a coherent critique of US imperialism or providing a representation of the global anti-war movement. The Media Education Foundation's Hijacking Catastrophe is commended for exposing the ideology & political strategy of the neoconservative group driving US foreign policy. The Corporation is extolled for the entertaining analyses of the origins, history, & behavior of corporations & its critique of the external damage done by corporations on their surrounding environments." [CSA Worldwide Political Science Abstracts]

Rasmusson, Sarah L.
"Masculinity and Fahrenheit 9/11." International Feminist Journal of Politics Volume 7, Number 1 / March 2005 Pages: 137 - 141
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The rhetoric of the new political documentary
Edited by Thomas W. Benson and Brian J. Snee. Carbondale : Southern Illinois University Press, c2008.
Main (Gardner) Stacks PN1995.9.D6 R495 2008
Contents: New political documentary: rhetoric, propaganda, and the civic prospect / Thomas W. Benson and Brian J. Snee -- Virtual realism and the limits of commodified : dissent in Fahrenheit 9/11 / Shawn J. Parry-Giles and Trevor Parry-Giles -- Documentary dialectics or dogmatism? Fahrenhype 9/11, Celsius 41.11, and the new politics of documentary film /Jennifer L. Borda -- Vietnam flashbacks: dueling memories of dissent in the 2004 presidential election / Roger Stahl -- Theology, politics, and the evangelical base: George W. Bush: faith in the White House / Martin J. Medhurst -- Mimesis and miscarriage in Unprecedented / Robert E. Terrill -- Talking heads rock the house: Robert Greenwald's Uncovered: the war on Iraq / Susan Mackey-Kallis -- Outfoxing the myth of the liberal media / Ronald V. Bettig and Jeanne Lynn Hall.

Rich, B. Ruby
"Mission Improbable." Sight and Sound, vol. 14, no. 7, pp. 14-16, Summer 2004
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"Michael Moore's Fahrenheit 9/11 smolders with barely controlled rage over what is being done to the United States by President George W. Bush's administration. The film's lack of a U.S. distributer is presumably a matter of fine-tuning a contract geared to ever-increasing profitability, one that will presumably be sorted out in time for Moore's dream-date opening on July 4, 2004. The film aims to convince U.S. voters to push Bush out of the White House in the November 2004 elections. However, unless production company Miramax has a plan up its sleeve, this outcome is unlikely." [Art Index]

Rieger, Christy
"Teaching the Theatre of Argument in Fahrenheit 9/11." Journal of Dramatic Theory and Criticism, vol. 20, no. 1, pp. 113-25, Fall 2005

Rizzo, Sergio.
"Why less is still Moore: Celebrity and the reactive politics of Fahrenheit 9/11.(movie director, Michael Moore)." Film Quarterly 59.2 (Winter 2005): 32(8).
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"Many people on the liberal-left have attempted to embrace the message of Michael Moore's work while rejecting Moore himself. Throughout his career, Moore's offerings, which include Fahrenheit 9/11 (2004), have been the subject of numerous moral judgments and criticisms from left-leaning journalists and academics who are sympathetic to either the message or the objectives of his films, but who view his tactics as, at best, counterproductive. Moore is partly to blame for this, because he positions himself as the working-class outsider, alienating both mainstream Democrats and individuals to the left of the Democratic Party. Other difficulties associated with Moore's self-centered filmmaking include the fact that, for him, the political is personal, which is in contrast to the activism of the 1960s." [Art Index]

Shargel, Raphael.
"Lighting fires.(On Screen)(Fahrenheit 9/11)(Movie Review)." The New Leader 87.4 (July-August 2004): 39(3).
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Simons, Herbert W. 1935-
"Rhetoric's Role in Context, Beginning with 9/11." Rhetoric & Public Affairs - Volume 10, Number 2, Summer 2007, pp. 183-194
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"This essay offers a dilemma-centered rhetorical history of the Iraq debacle, beginning with the president's melodramatic crisis narrative in the wake of the 9/11 attacks, continuing with the unraveling of that narrative in the run-up to war and during the prolonged occupation of Iraq, and culminating in situational entrapment, or quagmire, wherein the Bush administration's reputation for "staying on message" has lost its rhetorical glow." [Project Muse]

Smith, Gavin
"The Ending Is Up to You." Interview with M. Moore; cover story]. Film Comment v. 40 no. 4 (July/August 2004) p. 21-2, 24-6
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"In an interview, director Michael Moore discusses such topics as his latest film, Fahrenheit 9/11; the close ties between the Saudi royal family and the Bush family; whether there was a point at which Moore began to see the film as a way directly affecting people's votes in November; the movie's recurring theme of the media's complicity with and failure to go after Bush, and the purpose of the humor in the film." [Art Index]

Smith, Gavin
"This Means War!" Film Comment, vol. 40, no. 4, pp. 19-26, Summer 2004
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Toplin, Robert Brent
"Fahrenheit 9/11.(Movie Review)." Journal of American History 91.3 (Dec 2004): 1146(3).

Toplin, Robert Brent
"The Long Battle Over Fahrenheit 9/11: A Matter of Politics, Not Aesthetics." Film and History, vol. 35, no. 2, pp. 8-10, 2005
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Toplin, Robert Brent
Michael Moore's Fahrenheit 9/11: how one film divided a nation Published: Lawrence: University Press of Kansas, c2006.
MAIN: PN1997.2.F34 T66 2006; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip066/2006000122.html

Wanner, Kevin J.
"'Lord help us': Religion in Michael Moore's Fahrenheit 9/11." Method & Theory in the Study of Religion Volume 18, Number 2 / June, 2006
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Weber, Cynthia
"Fahrenheit 9/11: The Temperature Where Morality Burns." Journal of American Studies, vol. 40, no. 1, pp. 113-31, Spring 2006
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Michael Moore's 2004 film Fahrenheit 9/11 is a visual and narrative tour de force that critiques everything from the controversial conditions under which George W. Bush assumed the US presidency to President Bush's handling of his so-called "war on terror." With its tagline "The temperature where freedom burns," Moore stresses the dubious ethical nature of the Bush administration's post-9/11 policies, especially as they redefine the US relationship between freedom and censorship. In so doing, he challenges the Bush administration's constructions of US morality as ultimately elitist and self-serving, substituting his own populist, class-based moral America(n) in its place.

Wilder, Carol
"Separated at Birth: Argument by Irony in Hearts and Minds and Fahrenheit 9/11." Atlantic Journal of Communication2005, Vol. 13, No. 2, Pages 57-72
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Political documentaries Hearts and Minds and Fahrenheit 9/11 were made three decades apart and stand as cultural markers of their times. The films share remarkable similarities and equally important differences. Hearts and Minds and Fahrenheit 9/11 include many similar iconic images of antiwar rhetoric, including grieving parents, profiteering businessmen, dissembling politicians, and wounded warriors. They have similar distribution histories. Conceptually, both films construct cinematic argument through an intricate succession of incongruous, contradictory, and ultimately ironic words and images. This article explores argument by irony as exemplified by Hearts and Minds and Fahrenheit 9/11, and discusses their dissimilarities as manifestations of the radically differentiated media environments of their times.

Wilshire, Peter.
"Michael Moore's Fahrenheit 9/11 and the US election: a case of missed opportunity?(FILM AS TEXT)(Critical Essay)." Australian Screen Education 39 (Summer 2005): 129(6).
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Winstead, Antoinette.
"Michael Moore's Fahrenheit 9/11: How One Film Divided a Nation." - Volume 37.1 (2007), p. 92
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Zalewski, Marysia
"Introduction: Making Feminist Sense of Fahrenheit 9/11." International Feminist Journal of Politics, 2005, 7, 1, Mar, 134-136.
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"An introduction to the "Conversations" section discusses Michael Moore's 2004 movie, Fahrenheit 9/11, to argue that it opens important questions about the relationship between mainstream cinema & the maintenance of established social structures by failing to transgress gendered boundaries in spite of its left-wing orientation. The authors of the following three essays suggest Moore's discussion of the war on terrorism neglects feminist issues that are central to all wars & instead provides an unreflective & often manipulative use of gender. Laura Mulvey's (1975) notion of popular films as constituted by a "male gaze" is discussed, along with Wendy Brown's (1995) contention that dominant discourses normalize the powerful by making other discourses appear "freakish" or disabled. It is suggested that the current unresponsive view of feminism in the popular imagination would make a feminist Fahrenheit 9/11 appear freakish. Moore's movie was successful largely because it satisfied the public by implying a traditional perspective of "real" men & "real" women." [CSA Worldwide Political Science Abstracts]

Roger and Me

Allen, Henry.
"Have Grin, Will Film Despair; Documentary Maker Michael Moore and His Wry Look at an American Dream Gone Awry." ('Roger and Me') Washington Post v113 (Thu, Jan 11, 1990):E1, col 2, 66 col in.

Bateman, Thomas S.; Sakano, Tomoaki; Fujita, Makoto.
"Roger, Me, and My Attitude: Film Propaganda and Cynicism Toward Corporate Leadership. Journal of Applied Psychology v77, n5 (Oct, 1992):768 (4 pages).
UC users only F

Bensman, David.
"'Roger & Me:' Narrow, Simplistic, Wrong." (public reaction to Michael Moore's documentary film) (column) New York Times v139 (Fri, March 2, 1990):A15(N), A33(L), col 1, 17 col in.

Bernstein, Matthew.
"'Roger and Me': Documentaphobia and Mixed Modes." Journal of Film and Video v46, n1 (Spring, 1994):3 (18 pages).
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Considers Michael Moore's "Roger and me" as a new mode of documentary which does not fit into the traditional categories of the genre. Compares the film with "Who killed Vincent Chin?"

Bernstein, Richard.
"'Roger and Me': Redefining the Limits." (popularity of the motion picture produced by Michael Moore) (Living Arts Pages) New York Times v139 (Thu, Feb 1, 1990):B3(N), C20(L), col 1, 35 col in.

Canby, Vincent.
"Roger and Me." (video recording reviews) New York Times v139, sec2 (Sun, June 17, 1990):H28(N), H28(L), col 1, 8 col in.

Cohan, Carley; Crowdus, Gary
"Reflections on Roger & Me, Michael Moore, and His Critics." Cineaste 1990, 17:4, 25-30.
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Collins, Glenn.
"A Self-taught Film Maker Creates a Comic Hit." (Michael Moore, 'Roger and Me') (Living Arts Pages) New York Times v139 (Thu, Sept 28, 1989):B3(N), C15(L), col 1, 28 col in.

Corliss, Richard.
"Michael & Roger and Phil & Flint: An Impish Documentary Raises a Ruckus in the Heartland." (Michael Moore; Roger & Me; Flint, Michigan) Time v135, n7 (Feb 12, 1990):58.

Dikkers, Scott.
"Michael Moore." (filmmaker)(Interview) Progressive v60, n6 (June, 1996):40 (3 pages).

Duffy, Susan; Treece, James B.
"The real Villain in Roger & Me? Big Business." (also includes a related article on Roger Smith) Business Week, n3140 (Jan 8, 1990):42 (2 pages).

Dutton, Thomas A.; Ghirardo, Diane Y.
"Roger and me." (motion picture review) Journal of Architectural Education v 43 Spring 1990. p. 57-9.

Edsforth, Ronald
"Roger & Me." American Historical Review; Oct91, Vol. 96 Issue 4, p1145, 3p
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Eisenstein, Paul A.
"Flint Deals with General Motors Layoffs: 'Roger and Me.'" (General Motors Co. in Michigan depicted in motion picture) Christian Science Monitor v82, n31 (Wed, Jan 10, 1990):9, col 1, 19 col in.

Fisher, Lawrence M.
"G.M.'s Response to 'Roger & Me.' "(advertising agencies asked not to place commercials on programs featuring filmmaker) (column) New York Times v139 (Wed, Jan 31, 1990):C21(N), D23(L), col 2, 8 col in.

Georgakas, Dan; Saltz, Barbara
"Michael and Us: An Interview with Michael Moore." Cineaste 1998, 23:3, 4-7.
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"An interview with filmmaker Michael Moore on the occasion of the opening of his film The Big One in New York. The film, full of Moore's trademark provocation of authority, originated from his discovery of a new American phenomenon whereby corporations already making their best profits ever were exporting jobs, and offers a chilling comment on how corporate executives view the American worker. However, Moore has recently been attacked by several factions of the left as a cultural fake who uses a working-class facade to mask his limited understanding of political and aesthetic theory. Moore discusses several topics in the interview, including the sources of his humor, some particulars of his new film, and the critiques of his work that have been raised by the left." [Art Abstracts]

Harkness, John.
"Roger and Me. " Sight and Sound v59, n2 (Spring, 1990):130 (2 pages).
UC users only

Ingrassia, Paul.
"This Time, GM's Innocent." (General Motors and Flint, Michigan) (column) Wall Street Journal (Fri, Sept 29, 1989):A14(W), A14(E), col 4, 17 col in.

Insdorf, Annette.
"Who Made 'Roger & Me?'" (Michael Moore's documentary on the effect of the closing of a General Motors plant in Flint, Michigan) American Film v15, n2 (Nov, 1989):14.

Jacobson, Harlan.
"Michael & Me." (interview with Michael Moore, director of film "Roger and Me") (interview) Film Comment v25, n6 (Nov-Dec, 1989):16 (9 pages).
Filmmaker Michael Moore discusses the accuracy of his documentary "Roger and me" and the issues it raises about corporate America.

Kauchak, Therese.
"'Just Shut Up and Build a Better car.'" (filmmaker Michael Moore of "Roger & Me" on General Motors) (Out of Left Field) (Special Report: Automotive Marketing) (company profile) Advertising Age v61, n30 (July 23, 1990):S8.

Kellner, Douglas
"Roger and Me and the Documentary of Personal Witnessing." In: Cinema wars: Hollywood film and politics in the Bush-Cheney era / Douglas Kellner. Malden, MA : Wiley-Blackwell, 2010.
Full text available online (UC Berkeley users only)

Klawans, Stuart.
"Film notes. (Roger and Me)" Nation v250, n5 (Feb 5, 1990):178 (2 pages).

Lasswell, Mark.
"Cinema's Working-class Hero." (Michael Moore) Rolling Stone, n570 (Jan 25, 1990):32.

Lee, Patrick.
"Exasperated GM Chief Pans Satiric Film as 'Sick Humor.'" (Roger Smith of General Motors gives opinion of 'Roger and Me') Los Angeles Times v109 (Thu, Jan 4, 1990):D6, col 5, 6 col in.

Leerhsen, Charles.
"Honey, I Shrunk the Town; New Filmmaker Michael Moore Takes on GM." Newsweek v114, n15 (Oct 9, 1989):113.

Levin, Doron P.
"A Film Tweaks G.M. Over Jobless. " ("Roger and Me" parodies General Motors chairman Roger B. Smith and dramatizes plight of the unemployed in Michigan) New York Times v139 (Thu, Sept 21, 1989):C1(N), D1(L), col 3, 16 col in.

Levin, Doron P.
"Maker of 'Roger and Me' Alienates Some Allies." (Michael Moore) (Living Arts Pages) New York Times v139 (Fri, Jan 19, 1990):B11(N), C12(L), col 4, 22 col in.

Mckersie R.
"Thoughts On Roger And Me." Sloan Management Review, 1990 Summer, V31 N4:5-6.

Moore, Michael.
"'Roger' and I, Off to Hollywood and Home to Flint." (filmmaker Michael Moore discusses 'Roger and Me') New York Times v139, sec2 (Sun, July 15, 1990):H11(N), H11(L), col 4, 33 col in.

Moore, Peter D.
"Business as Target of Social Discontentment." (column) Los Angeles Times v109 (Wed, March 14, 1990):D3, col 4, 29 col in.

Niney, Francois
"Roger and me." (motion picture review) Cahiers du Cinema no430 Apr 1990. p. 72.

Orvell, Miles.
"Documentary Film and the Power of Interrogation: American Dream and Roger and Me." Film Quarterly, vol. 48 no. 2. 1994-1995
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" Barbara Kopple's Academy Award-winning American Dream (1991) and Michael Moore's controversial Roger and Me (1989) focus on the same subject--the fate of the worker at the hands of the modern corporation--but differ greatly in their approach to the documentary format. Kopple's film, which deals with the 1985 strike of the meatpackers union at the Hormel plant in Austin, Minnesota, is rooted squarely in the mainstream of the documentary tradition, presenting the filmmaker as a sympathetic observer of the powerless. It is precisely this tradition that Moore rebels against in Roger and Me, whose ostensible subject is the plant closings of the 1980s by General Motors and their effect on the people of Flint, Michigan. A hybridization of the interactive and reflexive documentary modes, the film is part historical narrative and part autobiography. Moore himself remains the central figure throughout, in the persona of the reporter in search of his subject." [Art Abstracts]

Plantinga, Carl
"Roger and History and Irony and Me." Michigan Academician, 1992 Spring, 24:3, 511-20.
"Examines Michael Moore's film Roger and Me, a documentary on the closing of General Motors assembly factories in Flint, Michigan, and the subsequent economic decline of the town, as "ironic history," demonstrating how irony contributes to the film's humor but prevents a coherent and useful analysis of the situation." [America History and Life]s

Plantinga, Carl
"The mirror framed: a case for expression in documentary." Wide Angle; Vol.XIII nr.2 (Apr 1991); p.40-53
A consideration of US indifference to the documentary form and the omission of outstanding examples of the genre from Oscar nominations. Focuses on "Gates of heaven", "Roger and me" and "Sherman's march".

"Recession's Fellini." (documentary film maker Michael Moore) (Business) Economist v317, n7681 (Nov 17, 1990):84.

"Roger Babbitt." (Roger and Me motion picture) Economist v314, n7637 (Jan 13, 1990):67.

Rosenbaum, Jonathan.
"Are You Having Fun." (commentary on recent trend in motion pictures) Sight and Sound v59, n2 (Spring, 1990):96 (5 pages).

Saltz, Barbara Michael and Us: An Interview With Michael Moore." Cineaste - America's Leading Magazine on the Art and Politics of the Cinema 23:3 (April 1998) Go to Journal Issue p. 4-7
UC users only

Schwartz, John.
"The Film That Ran Over GM; 'Roger & Me' is Funny, But What Does It Prove?" Newsweek v115, n3 (Jan 15, 1990):52.

Sterritt, David.
"A Documentary Grabs Attention." ("Roger & Me") Christian Science Monitor v82, n34 (Tue, Jan 16, 1990):11, col 1, 25 col in.

Tibbetts, J. C.
An Interview with Michael Moore." Film & History v. 34 no. 2 (2004) p. 86-8
UC users only
"A transcript of a 1989 interview held with Michael Moore on the occasion of the release of his film Roger & Me is presented. Moore is the self-proclaimed champion of lost causes, defender of the working class, and enemy of right-wing corporate America, and his breakout documentary Roger & Me was released to theaters in December 1989. His remarks about his filmmaking agendas and his plans for the future have since been borne out in his subsequent features The Big One, Welcome to Columbine, and Fahrenheit 9/11, as well as in his various television series. He discusses various topics, including the story behind the documentary Roger & Me, the most humorous and moving moments of the project for him, the relevance of the film for audiences, and the irony that a film making fun of corporate America was being released by Warner Bros." [Art Index]

"Up Close: Michael Moore." (interview with Michael Moore)Planning Feb 1997 v63n2

White, Joseph B.
"GM Seeks to Keep Ads Off Talk Show About 'Roger & Me.'" (General Motors Corp.) Wall Street Journal (Thu, Feb 1, 1990):B6(E), col 3, 7 col in.

White, Joseph B.
"Movie That Attacks GM, Roger Smith Opens in Flint, Mich., To Rave Reviews." ("Roger and Me" lambastes General Motors Corp.) Wall Street Journal (Thu, Dec 21, 1989):B6(W), B4(E), col 4, 18 col in.

Sicko

Abeel, Erica.
"Sicko." Film Journal International, Aug2007, Vol. 110 Issue 8, p73-74, 2p
UC users only

Badt, Karin Luisa.
"Stay Well, or Else." Bright Lights Film Journal, Aug2007 Issue 57, p14-14, 1p, 2 bw

Callenbach, Ernest.
"Sicko." Film Quarterly, Winter2007/2008, Vol. 61 Issue 2, p18-20, 3p
UC users only

Cohn, Jonathan
"Shticko." New Republic; 7/2/2007, Vol. 237 Issue 1, p18-19, 2p,
UC users only

Collum, Danny Duncan
"A Sick System." Sojourners Magazine; Nov2007, Vol. 36 Issue 10, p53-53, 1p
UC users only

Denby, David.
"Do No Harm." New Yorker; 7/2/2007, Vol. 83 Issue 18, p84-85, 2p
UC users only

Denby, David.
"Sicko." New Yorker, 8/20/2007, Vol. 83 Issue 24, p19-20, 2p
UC users only

Elder, Larry.
"Michael Moore's Sicko Is Sickening." Human Events, 7/16/2007, Vol. 63 Issue 24, p20-20, 2/3p
UC users only

Fontova, Humberto.
"Moore's Pro-Castro Propaganda Hides Cuban Suffering." Human Events, 7/30/2007, Vol. 63 Issue 26, p20-20, 1p
UC users only

Gawande, AtulM
"Sick and Twisted." New Yorker; 7/23/2007, Vol. 83 Issue 20, p21-22, 2p
UC users only

Hass, Janis.
"SiCKO strikes a chord." CMAJ: Canadian Medical Association Journal, 8/14/2007, Vol. 177 Issue 4, p379-380, 2p
UC users only

Hayes, Christopher
"Michael Moore's Sicko." (cover story) Nation; 7/16/2007, Vol. 285 Issue 3, p11-14, 3p
UC users only

Holtz, Andrew
"National Survey Shows Michael Moore's Sicko Did Indeed Provoke Discussions about US Health Care System. " Oncology Times. 29(18):28-29, September 25, 2007.
UC users only

Johnson, Brian D.
"They love me, they love me not." Maclean's; 6/25/2007, Vol. 120 Issue 24, p54-55, 2p
UC users only

Kellner, Douglas
"Sicko and the Michael Moore Genre." In: Cinema wars: Hollywood film and politics in the Bush-Cheney era / Douglas Kellner. Malden, MA : Wiley-Blackwell, 2010.
Full text available online (UC Berkeley users only)

Kelly, Richard T.
"Sicko." Sight & Sound; Dec2007, Vol. 17 Issue 12, p91-91, 1p
UC users only

Klawans, Stuart
Fever pitch." Film Comment; Jul/Aug2007, Vol. 43 Issue 4, p26-28, 3p
UC users only

Kluger, Jeffrey
"Moore in The E.R." Time; 5/28/2007, Vol. 169 Issue 22, p48-50, 3p
UC users only

Knight, Mark.
"Thoughts on 'SiCKO'." hfm (Healthcare Financial Management), Aug2007, Vol. 61 Issue 8, p24-25, 2p
UC users only

Marino, Gordon
"Me, Not We." Commonweal; 9/14/2007, Vol. 134 Issue 15, p8-10, 2p
UC users only

Marmor, Theodore R.; Okma, Kieke G. H.; Rojas, Joseph R.
"What It Is, What It Does and What It Might Do: A Review of Michael Moore's Sicko" American Journal of Bioethics, Oct2007, Vol. 7 Issue 10, p49-51, 3p

McDermott, Jim
"Illness, Here Is Thy Sting." America; 11/5/2007, Vol. 197 Issue 14, p27-28, 2p
UC users only

Mohr, Ian
"Smoke & Mirrors: Checking the Pulse on Moore's 'Sicko'." Variety 401:7 (2 January 2006-8 January 2006)
UC users only

Nordlinger, Jay
"The Myth of Cuban Health Care." National Review; 7/30/2007, Vol. 59 Issue 13, p38-40, 3p
UC users only

Northridge, Mary E.
"Who Are We?" American Journal of Public Health; Sep2008 Supplement, Vol. 98, pS59-S59
UC users only

Pilger, John
"Who's afraid of Michael Moore?" (cover story) New Statesman; 10/22/2007, Vol. 137 Issue 4867, p30-34, 4p,
UC users only

Porton, Richard.
"Sicko." Cineaste, Fall2007, Vol. 32 Issue 4, p44-46, 3p
UC users only

Rothschild, Matthew
"Sick Priorities." Progressive; Sep2007, Vol. 71 Issue 9, p4-4, 2/3p
UC users only

"SiCKO." Scientific American Special Edition, Dec2007 Special Edition-TBA, Vol. 17 Issue 4, p87-87
UC users only

Summers, Jim; Nowicki, Michael
"Responding to "Sicko". hfm: Healthcare Financial Management, Sep2007, Vol. 61 Issue 9, p144-146, 2p
UC users only

Tanner, Michael
"SiCKO: Michael Moore's latest fantasy." Institute of Public Affairs Review; Jul2007, Vol. 59 Issue 2, p21-21, 1p
UC users only

Trombetta, Bill.
"A Remedy for Managed Care." Marketing Health Services, Summer2008, Vol. 28 Issue 2, p33-35, 3p
UC users only

Waldman, Allison J.
"The 'Sicko' Effect." Television Week; 3/24/2008, Vol. 27 Issue 9, p39-50, 2p,
UC users only

Warnack, Pamela M.
"Thoughts on 'SiCKO'." hfm (Healthcare Financial Management), Aug2007, Vol. 61 Issue 8, p24-25, 2p
UC users only

Errol Morris

Bates, Peter.
"Truth Not Guaranteed: An Interview with Errol Morris." Cineaste, vol. 17 no. 1. 1989. pp: 16-17.

Chang, Chris
"Planet of the apes." Film Comment; Vol.XXXIII nr.5 (Sept-Oct 1997); p.68-71
"Errol Morris's subject matter will always be humans and the contradictory stories they tell. To remain consistent with the subjects he portrays, Morris presents a direct contradiction when efforts are made to classify his work. He is typically defined as a documentarist, but the term documentary is one he is averse to, preferring instead "nonfiction film." In part, the reaction arises from the apparent limitations of the documentary genre, which is rarely as popular as feature films. The trouble is that people do not always realize that truth and fiction can be outmoded constructs: The dissolution of the barrier between the two and a subsequent attack on dichotomy in general is at the heart of the Morris project. The writer discusses Morris's films." [Art Index]

Conomos, John
"Errol Morris and the New Documentary." Senses of Cinema

Cohn, Lawrence.
"Truth-tellers Start to Tell Tales." (documentaries) Variety v347, n4 (May 11, 1992):22 (2 pages).

Dieckmann, Katherine
"Private eye." American Film v. 13 (January/February 1988) p. 32-8
"As the creator of distinctive, offbeat films, Errol Morris has done much to revitalize the documentary form. Virtually unknown to the general public, Morris won critical praise for his first films, Gates of Heaven and Vernon, Florida. In his latest documentary, The Thin Blue Line, Morris combines imaginative visuals, a deadpan interview style, and a haunting score by Philip Glass to probe the murder of a Dallas police officer in 1976. Ironically, film--particularly the documentary--has never held much fascination for Morris. Investigation has been his main obsession, especially in probing the criminal mind. He began developing his interviewing techniques by talking to criminals and mass murderers. Because he uses methodical framing and a deliberate tone, he has been accused of exploiting his subjects. He counters that such criticism comes from people who expect documentaries to fit their perceptions of the world." [Art Index]

Dorst, John D.
"'Sidebar Excursions to Nowhere': The Vernacular Storytelling of Errol Morris and Spalding Gray." In: Folklore, Literature, and Cultural Theory: Collected Essays. Edited by Cathy Lynn Preston. pp: 119-34. New York: Garland Pub., 1995. Garland reference library of the humanities; vol. 1395. Garland reference library of the humanities. New perspectives in folklore; vol. 2.
Anthropology GR41.3.F65 1995
Main Stack GR41.3.F65 1995
Moffitt GR41.3.F65 1995

Dorst, John D.
"Which came first, the chicken device or the textual egg? Documentary film and the limits of the hybrid metaphor." (Special Issue: Theorizing the Hybrid) Journal of American Folklore v112, n445 (Summer, 1999):268 (1 page).
Author Abstract: Though hybridity is certainly a productive theoretical metaphor, there are limits to its usefulness. In our postmodern, "telectronic" culture, we are surrounded by examples of boundary confusion between text-generating devices and texts themselves. The organic metaphor of hybridity is of limited value in theorizing these conflations. This article considers examples of such collapse between text and "apparatus" in the documentary films of Errol Morris, particularly his 'folklife" portrait of a small town in Florida. COPYRIGHT 1999 American Folklore Society.

"Errol Morris."(Interview)
Mother Jones v25, n2 (March, 2000):82.

Gin, Willie
"Morris, Errol." Current Biography Feb 2001 v62 i2 p37(8)

Gourevitch, Philip.
"Interviewing the Universe." (film director Errol Morris) New York Times Magazine (Sun, August 9, 1992):18, col 1, 139 col in.

Grundmann, Roy
"Truth Is Not Subjective: An Interview with Errol Morris."(Interview) Cineaste v25, n3 (Summer, 2000):4.
UC users only
"An interview with filmmaker Errol Morris. Morris's films so consciously and consistently blur the lines between fact and fiction, reality and fantasy, objectivity and subjectivity, that the use of real-life subjects and lack of a prewritten script appear to be the only common thread by which his documentary classification hangs. He employs cinema to seek realism in a philosophical rather than objective sense, by exploring the intersections of the "fictional" and "real" worlds we make and inhabit. Mr. Death, his latest film, deals with Fred Leuchter, a self-styled technologist who was hired by Holocaust revisionist Ernst Zundel to find evidence that the Holocaust never happened. Topics discussed include how Morris finds the interviewees for his films, whether Mr. Death came out as he wished, the reason why he traveled to Auschwitz for the film, and his use of interviewing devices called the Interrotron and Megatron." [Art Index]

Kirtz, Bill.
"Looking through the lens of a groundbreaking director; Profile / Errol Morris." (Features)(Arts & Leisure) Christian Science Monitor (Dec 31, 1999):17.

Jaffe, Ira.
"Errol Morris's Forms of Control." Film International , 2005, Vol. 3 Issue 14, p4-19, 16p
UC users only
"The article presents an analysis of the documentaries of Errol Morris entitled "Fast, Cheap & Out of Control," "Mr. Death" and "The Fog of War." The author argues that the explicit argument or content in "The Fog of War," is more radical than in the previous films. The films of Morris incorporate excerpts from diverse texts such as old fiction films and home movies. He also uses fragments and clusters of words as well as charts discovered in newspapers. Sound and images in his films come from various formats such as video, super-8 and 16mm as well as 35mm." [EBSCO]

Lack, Russell
"The shape of time." Sight & Sound; Vol.II nr.1 (May 1992); p.21-23
E.M. on his career, his approach to filmmaking which he calls 'fiction documentaries' and his latest project "A brief history of time'.

Maslin, Janet.
"Why bold documentaries get few Oscars; this year, Errol Morris joins the distinguished list of innovators overlooked by a selection process in need of further reform." New York Times v147, sec2 (Sun, March 22, 1998):AR17(N), AR17(L), col 1, 24 col in.

McIlroy, Brian.
"Observing and Walking The Thinnest of Lines: Phenomenology, Documentary Film and Errol Morris." Recherches Semiotiques/Semiotic Inquiry, vol. 13 no. 1-2. 1993. pp: 285-99.

Nunn, Heather
"Errol Morris: documentary as psychic drama." Screen v. 45 no. 4 (Winter 2004) p. 413-22
UC users only
"Part of a special section on trauma in cinema and television. The work of documentary filmmaker Errol Morris is discussed. Morris's work could be positioned within the new-style "poetic" documentary that allows an engagement with illusion and fantasy by organizing its material to produce emotional affect and even a dialog with the "collective consciousness." It shares with earlier televisual innovations, particularly the first-person accounts in video diaries and chat shows, an emphasis on confession and the to-camera addresses of the main subject or subjects. His documentaries work hard, with the twin goals of disrupting the sober discourses of documentary and challenging orthodox modes of filming recollections of real, often traumatic, past events. He regularly concentrates on individual memories and locates these within a tapestry of archival, poetic, and reconstructed scenes that prioritize the bizarre and often highly repetitive or ritualistic aspects of human behavior." [Art Index]

Plantinga, Carl
"The mirror framed: a case for expression in documentary." Wide Angle; Vol.XIII nr.2 (Apr 1991); p.40-53
A consideration of US indifference to the documentary form and the omission of outstanding examples of the genre from Oscar nominations. Focuses on "Gates of heaven", "Roger and me" and "Sherman's march".

Rosenheim, Shawn.
"Interrotroning History: Errol Morris and the Documentary of the Future." In: The Persistence of History: Cinema, Television, and the Modern Event. Edited by Vivian Sobchack. pp: 219-34. New York: Routledge, 1996. AFI film readers.
Main Stack PN1995.2.P47 1996

Ryan, Tom.
"Errol Morris." [Interview] Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 16:(no pagination). 2001 Sept-Oct.

Singer, Mark.
"Predilections." (Errol Morris) (Profiles) New Yorker v64, n51 (Feb 6, 1989):38 (23 pages).

Three documentary filmmakers : Errol Morris, Ross McElwee, Jean Rouch
Edited by William Rothman. Albany : SUNY Press, c2009.
Main (Gardner) Stacks PN1998.3.M684 T47 2009

Williams, Linda.
"Mirrors without Memories: Truth, History, and the New Documentary." Film Quarterly, vol. 46 no. 3. 1993 Spring. pp: 9-21.
UC users only
"The postmodern era has brought a sense that images cannot define absolute truths, but there remains a remarkable hunger for documentary images of the real, prompting several filmmakers to find new approaches to reality and history. These postmodern documentarians include self-reflexivity in their works, making clear the subjectivity that shapes their representations of reality. More importantly, these filmmakers employ a variety of strategies, including interviews and re-creations, in an effort to choose among several relative truths, and they attempt to retrieve the truth of past events by revealing the lies that obscure the accepted views of these events. Errol Morris's The Thin Blue Line, Claude Lanzmann's Shoah, Michael Moore's Roger and Me, and Oliver Stone's JFK are discussed." [Art Index]

Brief History of Time

Ansen, David.
"A Brief History of Time." (movie reviews) Newsweek v120, n9 (August 31, 1992):68.

Booe, Martin.
"Star time for Stephen Hawking; the odds-defying life, book and, now, movie of the physicist." (Errol Morris' film about scientist who has Lou Gehrig's disease) Washington Post v115 (Sun, Sept 6, 1992):G1, col 5, 47 col in.

Canby, Vincent.
"A Brief History of Time." (movie reviews) (Living Arts Pages) ( New York Times v141 (Fri, August 21, 1992):B1(N), C3(L), col 4, 16 col in.

Ferrell, Keith.
"A Brief History of Time." (movie reviews) Omni v14, n12 (Sept, 1992):10.
UC users only

Ferris, Timothy.
"A Brief History of Time." (movie reviews) New York Times v141, sec2 (Sun, August 16, 1992):H7(N), H7(L), col 5, 30 col in.

Goldman, Stuart J.
"A Brief History of Time." (movie reviews) Sky & Telescope v87, n4 (April, 1994):56 (2 pages).

Gourevitch, Philip.
"Interviewing the Universe." (film director Errol Morris) New York Times Magazine (Sun, August 9, 1992):18, col 1, 139 col in.

Hawking, Stephen W.
"Errol Morris, film's best-known bottom feeder, travels through time with skywalker Stephen Hawking." (documentary film director) (Interview) Mother Jones v17, n3 (May-June, 1992):46 (2 pages).

Heppenheimer, T.A.
"A Brief History of Time." (movie reviews) Nature v359, n6390 (Sept 3, 1992):8.

Imlah, Mick.
"A Brief History of Time." (movie reviews) TLS. Times Literary Supplement, n4649 (May 8, 1992):17.

Johnson, Brian D.
"A Brief History of Time." (movie reviews) Maclean's August 31, 1992 v105 n35 p42(1)
UC users only

Jones, Glyn.
"A Brief History of Time." (movie reviews) New Scientist v134, n1819 (May 2, 1992):45 (2 pages).

Kauffmann, Stanley.
"A Brief History of Time." (movie reviews) New Republic v207, n14 (Sept 28, 1992):28 (2 pages).
UC users only

Lack, Russell
"The shape of time." Sight & Sound; Vol.II nr.1 (May 1992); p.21-23
E.M. on his career, his approach to filmmaking which he calls 'fiction documentaries' and his latest project "A brief history of time'.

Morris, Errol.
"The Shape of Time." (insights on director Errol Morris' films, particularly 'A Brief History of Time') Sight and Sound v2, n1 (May, 1992):20 (4 pages).

Rosenheim, S.
"Extraterrestrial. Science fictions in A brief history of time and The incredible shrinking man." Film Quarterly; Vol.XLVIII nr.4 (Summer 1995); p.15-21
"In directing A Brief History of Time--a documentary based on physicist Stephen Hawking's book of the same name--Errol Morris faced the intrinsic problem of figuring out how to narrate pure science. Though Hawking's book was intended for laymen, its graphs, equations, turgid prose, and lack of plot meant that shooting a straight version was impossible. Moreover, the progress of the universe from Big Bang to Big Crunch makes for arid, inhuman storytelling. As a solution, Morris chose to design an overdetermined world built on occult metaphoric connections between Hawking's cosmologies and his life. To do this, Morris borrows from The Incredible Shrinking Man a plot in which the hero's achievement of a certain kind of knowledge is purchased with his exile from human society and its meanings. The end result is a film that is more science fiction than science, an essay on luck, chance, and fate that allows Morris to cast Hawking as "the man of the future." [Art Index]

Sragow, Michael.
"A Brief History of Time." (movie reviews) New Yorker v68, n29 (Sept 7, 1992):87.

Salamon, Julie.
"A Brief History of Time." (movie reviews) Wall Street Journal (Thu, August 20, 1992):A9(W), A6(E), col 2, 9 col in.

Schickel, Richard.
"A Brief History of Time." (movie reviews) Time v140, n9 (August 31, 1992):66 (2 pages).
UC users only

Schickel, Richard.
"A Brief History of Time.' (movie reviews) Time v140, n9 (August 31, 1992):66 (2 pages).

Shulevitz, Judith.
"A Confederacy of Nerds: Philosopher-Filmmaker Errol Morris Masters Stephen Hawking's Universe." Lingua Franca. 2(5):1, 20-28. 1992 June-July.

Sragow, Michael.
"A Brief History of Time." (movie reviews) New Yorker v68, n29 (Sept 7, 1992):87.

Sterritt, David.
"A Brief History of Time." (movie reviews) Christian Science Monitor v84, n190 (Mon, August 24, 1992):14, col 2, 22 col in.

Travers, Peter.
"A Brief History of Time." (movie reviews) Rolling Stone, n638 (Sept 3, 1992):75.

Van Gelder, Lawrence.
"'Time' on Film." (A Brief History of Time to be made into documentary by Errol Morris) (Living Arts Pages) (column) New York Times v139 (Fri, June 1, 1990):B8(N), C12(L), col 1, 17 col in.

Fast, Cheap, and Out of Control

Ansen, David.
"Fast, Cheap, and Out of Control." (movie reviews) Newsweek v130, n16 (Oct 20, 1997):67 (2 pages).
UC users only

Corliss, Richard.
"Fast, Cheap, and Out of Control." (movie reviews) Time v150, n17 (Oct 27, 1997):1.
UC users only

Geier, Thom.
"Fast, Cheap, and Out of Control." (movie reviews) U.S. News & World Report v123, n13 (Oct 6, 1997):82.

Jaehne, Karen.
"Fast, Cheap, and Out of Control." (movie reviews) Film Quarterly v52, n3 (Spring, 1999):43.
UC users only
"Errol Morris's movie Fast, Cheap & Out of Control focuses on four people's obsessions in order to examine the theme of evolution and human consciousness. The four characters are all obsessed by different things: one is a lion tamer, one studies hairless mole-rats, another builds artificial intelligence robots, and the last is a devoted topiarist. The movie's core idea centers around consciousness, beginning at the level of the mole-rat and arriving at the point where artificial intelligence carries forward human intelligence until human knowledge and being persist as pure ideas. Implicit in this concept is the death of man as a species." [Art Index]

Maslin, Janet.
"Fast, Cheap, and Out of Control." (movie reviews) New York Times v147, n275 (Thu, Oct 2, 1997):B6(N), col 4, 14 col in.

Maslin, Janet.
"Fast, Cheap, and Out of Control." (movie reviews) New York Times v146, n273 (Tue, Sept 30, 1997):E5(L), col 1, 16 col in.

Fog of War

Alterman, Eric.
"The century of the 'son of a bitch'.(portrayal of Robert McNamara in Errol Morris's "The Fog of War")." The Nation 277.20 (Dec 15, 2003): 10.
UC users only

Angell, Roger.
"LATE REVIEW.(The Talk of the Town)('The Fog of War')(Movie Review)." The New Yorker 79.43 (Jan 19, 2004): 031.
UC users only

Arthur, Paul
"The Fog of War." Film Comment v. 39 no. 6 (November/December 2003) p. 73-4
UC users only
"In The Fog of War, Errol Morris conducts a full-length biographical interview with former secretary of defense Robert S. McNamara. As the film meticulously recounts, McNamara was the very model of a modern corporate liberal: a Harvard Business School graduate who helped pioneer statistical analysis of bombing efficiency during World War I, briefly became the president of the Ford Motor Company, was a major architect of military planning in Vietnam, later served as president of the World Bank, and, latterly, was a vital player in high-level initiatives aimed at reassessing America's debacle in Southeast Asia. Fortified by Morris's obvious desire to humanize a man who, by his own admission, could be seen as a war criminal, McNamara emerges in the film as a thoughtful and not altogether unsympathetic adviser who nonetheless propagated policies he now asserts were "wrong, terribly wrong."" [Art Index]

Blight, James G.
The fog of war: lessons from the life of Robert S. McNamara Lanham, Md.: Rowman & Littlefield, c2005.
MAIN: E840.8.M46 B58 2005
MOFF: E840.8.M46 B58 2005
Table of contents http://www.loc.gov/catdir/toc/ecip055/2004029787.html

Boggs, Carl
"Vietnam, McNamara, and the fog of history." New Political Science; Sep2004, Vol. 26 Issue 3, p459-472, 14p dd>UC users only

Carrey, Normand.
"Agit-doc.(The Left Atrium)(The Fog of War)(The Corporation)(Fahrenheit 9/11)(Movie Review)." CMAJ: Canadian Medical Association Journal 171.6 (Sept 14, 2004): 617(2).

Cockburn, Alexander.
"The fog of cop-out." The Nation 278.5 (Feb 9, 2004): 9. dd>UC users only

Cockburn, Alexander.
"McNamara: the sequel." The Nation 278.7 (Feb 23, 2004): 8.
UC users only

Cooper, Rand Richards.
"Bob, we hardly knew YA: Robert McNamara & 'The Fog of War'.(Screen)(Movie Review)." Commonweal 131.3 (Feb 13, 2004): 22(2).
UC users only

Corner, John.
"Documenting the political: some issues." Studies in Documentary Film; 2009, Vol. 3 Issue 2, p113-129, 17p
UC users only

Cronin, Paul.
"Warmonger blues.(Interview)." Sight and Sound 14.4 (April 2004): 20(3).
Former US secretary of defense Robert Strange McNamara makes an indelible impression as the star of the documentary portrait 'The Fog of War'. The movie reveals the lessons learnt by McNamara through the Cuban missile crisis, to detail his experiences as contributor to the World War II firebombing of Japan and as pioneer of the automobile seat belt.

Dickstein, Douglas Evan.
"Film as Political Vehicle: Two Films Offer Insight into Today's Iraq." World and I 19.8 (August 2004): NA.

Doherty, Thomas
"The Fog of War." Cineaste v. 29 no. 1 (Winter 2003) p. 19-21
UC users only
"A review of Errol Morris's The Fog of War. This documentary tells the story of Robert Strange McNamara, who served as Secretary of Defense in the administrations of John F. Kennedy and Lyndon B. Johnson and was among the vanguard elite determined to bring managerial order and expert analysis to the messy business of human governance. The documentary, in which he holds sway for the better part of 105 minutes, is a willful testament mingled with a few moments of rueful reflection from a man who was there at a time when the United States was exerting itself as the foremost world power by means of war and commerce. More meditative mood piece than compilation work, this is easily Morris's most controversial and political film yet." [Art Index]

Donovan, Timothy; Kimball, A. Samuel; Smith, Jillian
'Fog of War: What Yet Remains." Postmodern Culture: An Electronic Journal of Interdisciplinary Criticism, vol. 16, no. 1, pp. [no pagination], Sept 2005
UC users only

Esther, John.
"Rationality will not save us: Errol Morris pursues McNamara into the Fog.(The Fog of War)(Movie Review)." The Progressive 68.3 (March 2004): 30(3).

Fein, Seth.
"The Fog of War.(Movie Review)." American Historical Review 109.4 (Oct 2004): 1260(2).
UC users only

"'Fog of War' vs. 'Stop the Presses'.(Exchange)." The Nation 278.3 (Jan 26, 2004): 2.

Gerbaz, Alex
"Direct Address, Ethical Imagination, and Errol Morris's Interrotron." Film-Philosophy; 2008, Vol. 12 Issue 2, p17-29, 13p
UC users only

Harrison, Benjamin T.
"The Fog of War: Eleven Lessons from the Life of Robert S. McNamara." Journal of American History, Dec2005, Vol. 92 Issue 3, p1115-1116, 2p
UC users only

Hart, Roderick P.
"The Fog of War: Eleven Lessons from the Life of Robert S. McNamara, directed by Errol Morris." Political Communication, Apr-Jun2007, Vol. 24 Issue 2, p235-236, 2p

Indiana, Gary.
"Sorry, Charlie.(Film)(The Fog of War)(Movie Review)." Artforum International 42.5 (Jan 2004): 31(2).
"A review of The Fog of War, a documentary by Errol Morris. Subtitled "Eleven Lessons from the Life of Robert S. McNamara," the film is characterized by skewed framing, a brooding and ominous score, cutaway montages of stock military footage from World War II and Vietnam, and random clips from the era of McNamara's cabinet tenure as defense secretary under Kennedy and Johnson. These elements are so well deployed as to contrive an illusion of deepening insight and imminent revelation and, at the same time, to dispense entirely with the factual glue required to place McNamara's role in either administration into any legible context." [Art Index]

Klawans, Stuart.
"Crimes and misdemeanors.(The Fog of War; House of Sand and Fog)(Movie Review)." The Nation 278.2 (Jan 12, 2004): 42.
UC users only

Krantz, David L.
"Documentaries and the Creation of Reality." PsycCRITIQUES. Vol 50 (18), 2005, pp. [np]
UC users only
"Reviews the film The Fog of War: Eleven Lessons From the Life of Robert S. McNamara directed by Errol Morris (2003). The reviewer notes that many historians portray Robert McNamara as dispassionate Secretary of Defense who fueled and sustained the problematic Vietnam War. For them, he was a soulless, an immoral, and a malevolent manager who considered human loss in impersonal statistical predictions, "an IBM with legs." In contrast, there is the McNamara who narrated the written retrospections on the Vietnam period some 40 years later. In an attempt to set the record straight, he portrayed himself as having made mistakes and miscalculations in conducting what he considered an honorable war. He maintained that his and others' errors pointlessly extended the conflict at enormous loss of life and national credibility. McNamara presents a similar image in Errol Morris's documentary The Fog of War. The film is organized around 11 maxims about war and human error, with McNamara's pessimistic message being that in the fog of war, no one in power really knows what is happening. In overview, The Fog of War, as an artistic creation, provides compelling, thought-provoking entertainment (the film won an Academy Award for best documentary.) As a vehicle that offers penetrating insights into the mind of one of Morris's collection of fascinating individuals, the film provides as much understanding as is likely possible of an important historical figure who is not prone to introspective self-disclosure. As a historically accurate narrative, The Fog of War does not portray--nor does it intend to provide--a balanced history." [PsycINFO]

McDonald, Neil.
"Fragments of truth.(Film)(Movie Review)." Quadrant 48.5 (May 2004): 70(4).

Ricciardelli, Lucia
"Documentary Filmmaking in the Postmodern Age: Errol Morris & The Fog of Truth." Studies in Documentary Film Volume: 4 | Issue: 1 June 2010 Page(s): 35-50
UCB users only

Schanberg, Sydney H.
"Soul on ice: the Robert McNamara of Errol Morris' new documentary is clearly a tortured soul. But is he tortured enough?(Film)." The American Prospect 14.10 (Nov 2003): 61(3).

Toumarkine, Doris.
"The Fog of War.(Movie Review)." Film Journal International 106.12 (Dec 2003): 40(1).
UC users only

Williams, Deane.
"The fog of war: eleven lessons from the life of Robert S. McNamara.(Movie Review)." Metro Magazine 141 (Summer 2004): 56(7).

Mr. Death

Applebome, Peter.
"A taste for the eccentric, marginal and dangerous: Errol Morris explores the behavior of a specialist in death-chamber technology who becomes a Holocaust denier." New York Times (Sun, Dec 26, 1999):AR9(N), AR9(L), col 2, 35 col in.

Clark, Andrew; Johnson, Brian D.
"Vanity and evil: Errol Morris mercilessly exposes 'Mr. Death'." (Brief Article)(Review) Maclean's Feb 14, 2000 p61
UC users only

Corliss, Richard.
"Mr. Death: The Rise And Fall Of Fred A. Leuchter Jr." (The Arts/Cinema)(Review) (movie reviews) Time v154, n26 (Dec 27, 1999):171[C].

Denby, David.
"The idiot and the Adonis."(Review) (movie reviews). New Yorker v75, n43 (Jan 24, 2000):94 (2 pages).

Druick, Zoë
"Documenting false history: Errol Morris and Mr. Death." Studies in Documentary Film Volume: 1 | Issue: 3 2007 dd> UC users only

Epstein, Leslie.
"Monster and man." American Prospect, 02/28/2000, Vol. 11 Issue 8, p46, 2p

"Film; Mr. Death." (Review) (movie reviews) Mother Jones v25, n1 (Jan, 2000):89.

Fisher, Marc.
"Trial and Errol; In 'Mr. Death' and Other Works, Filmmaker Errol Morris Explores Where the Truth Lies." (Sunday Arts) Washington Post (March 5, 2000):G01

Gerbaz, Alex
"Direct Address, Ethical Imagination, and Errol Morris's Interrotron." Film-Philosophy; 2008, Vol. 12 Issue 2, p17-29, 13p
UC users only

Hoberman, J.
"Film: Leaps of Faith: Errol Morris's Holocaust-Denier Doc; Agnieszka Holland's Theological Thriller." The Village Voice 44:52 (4 January 2000)
UC users only

Holden, Stephen.
"A study in delusion and the myth of objectivity." (Review) (movie reviews). New York Times (Wed, Dec 29, 1999):B2(N), E1(L), col 2.

Hunter, Stephen.
"The Sad, Sad World Of 'Mr. Death'; Documentary Looks at a Holocaust Denier's Methodology." (Style) Washington Post (March 10, 2000):C05.

Morgenstern, Joe.
"Mr. Death.(Review)" (movie reviews) Wall Street Journal (Fri, Dec 31, 1999):W6(W), W6(E), col 5, 7 col in.

"Riveting 'Mr. Death' provokes thought." (Features)(Arts & Leisure)(Movies) Christian Science Monitor (Dec 31, 1999):16.

Rosen, Rachel
"Gray areas." Film Comment; Mar/Apr99, Vol. 35 Issue 2, p65, 2p,

Singer, Mark.
"The friendly executioner: how did an electric-chair repairman come to deny the Holocaust; and other odd questions.(filmmaker Errol Morris's documentary 'Mr. Death' about Fred Leuchter and his role in documentation about denial of the Holocaust). New Yorker v74, n44 (Feb 1, 1999):33 (7 pages).
Film director and documentarian Errol Morris is known for his exploration of subjects that deal with death and the various ways in which it is created either unexpectedly or intentionally, and how people rationalize its impact in their lives or those of others. His latest work, 'Mr. Death,' deals with the role that execution equipment designer Fred A. Leuchter Jr played in the Holocaust denial case of Ernst Zundel. Morris documents Leuchter's efforts to prove that Nazi gas chambers could not have been used to murder people. Leuchter's work produced the infamous 'Leuchter Report' that shows relentless evidence, however unreliable, from fragments he removed from concentration camp buildings for chemical analysis to support Zundel's position.

Standard Operating Procedures

Benson-Allott, Caetlin
"Standard Operating Procedure: Mediating Torture." Film Quarterly, vol. 62, no. 4, pp. 39-44, Summer 2009
UC users only

Lesage, Julia
"Torture Documentaries." Jump Cut: A Review of Contemporary Media, vol. 51, pp. (no pagination), Spring 2009
UC users only

Neroni, Hilary.
"The nonsensical smile of the torturer: documentary form and the logic of enjoyment." Studies in Documentary Film; 2009, Vol. 3 Issue 3, p245-257, 13p
UC users only

Williams, Linda.
"Cluster Fuck: The Forcible Frame in Errol Morris's Standard Operating Procedure" Camera Obscura, Jan2010, Vol. 24 Issue 73, preceding p29-67, 41p
UC users only

Thin Blue Line

"Adams: Morris is My Friend and Family." (ex-con Randall Dale Adams and Errol Morris, producer of "The Thin Blue Line") National Law Journal v11, n47 (Mon, July 31, 1989):6, col 1, 4 col in.

Applebome, Peter.
"Aftermath of 'Blue Line': new trial for convict. (the making of 'The Thin Blue Line') (Living Arts Pages ) New York Times v138 (Thu, Dec 8, 1988):B2(N), C19(L), col 3, 20 col in.

Barnouw, Dagmar.
"Seeing and Believing: The Thin Blue Line of Documentary Objectivity." Common Knowledge 4.1 (Spring 1995): 129-43.

Bates, Peter
"Thin Blue Line." (movie reviews) Cineaste v. 17 no. 1 (1989) p. 38-9+

Blake, Richard A.
"Thin Blue Line." (movie reviews) America v160, n4 (Feb 4, 1989):94 (2 pages).

Curry, Renee R.
"Errol Morris's Construction of Innocence in The Thin Blue Line." Rocky Mountain Review of Language and Literature, vol. 49 no. 2. 1995. pp: 153-67.
UC users only

Choi, Jinhee
"A Reply to Gregory Currie on Documentaries." The Journal of Aesthetics and Art Criticism Vol. 59, No. 3 (Summer, 2001), pp. 317-319
UC users only

Dieckmann, Katherine
"Private eye." American Film; vol.XIII nr.4 (Jan-Feb 1988); p.32-38
Profile of documentary film director E.M. focusing on the production of "The thin blue line".

Druick, Zoë.
"The courtroom and the closet in The Thin Blue Line and Capturing the Friedmans." Screen, Winter2008, Vol. 49 Issue 4, p440-449, 10p;
UC users only

Ferncase, Richard K
"Oddities and odysseys: The thin blue line (1988)." In: Outsider features: American independent films of the 1980s / Richard K. Ferncase. p. 103-14. Westport, Conn.: Greenwood Press, 1996. Contributions to the study of popular culture; no. 52
Main Stack PN1993.5.U6.F44 1996

"Freed inmate settles suit with producer over rights to story." (Errol Morris; Randall Dale Adams) (National Pages) New York Times v138, sec1 (Sun, August 6, 1989):15(N), 23(L), col 4, 8 col in.

Jacobson, B.
"Regional film: a strategic discourse in the global marketplace." Journal of Film and Video; Vol.XLIII nr.4 (Winter 1991); p.18-32
Surveys a number of independent US films produced since the 1970's which operate outside the Hollywood system and focus on the life and customs of regional communities; The ballad of Gregorio Cortez and The thin blue line used as examples.

Johnson, Brian D.
"The Thin Blue Line." (movie reviews) Maclean's v101, n41 (Oct 3, 1988):54E (2 pages).

Kennedy, J. Michael.
"'Thin Blue Line' figure won't be retried. (Randall Dale Adams, convicted of murdering a Dallas policeman, is freed after a documentary shows another man all but confessing to the same murder)." Los Angeles Times v108, secI (Fri, March 24, 1989):14, col 1, 18 col in.

Michaels, Lloyd.
"The Thin Blue Line and the Limits of Documentary." Post Script: Essays in Film and the Humanities, vol. 13 no. 2. 1994 Winter-Spring. pp: 44-50.

Milne, Tom; Algar, N.
"The thin blue line. Errol Morris - believe it or not." Monthly Film Bulletin; Vol.LVI nr.663 (Apr 1989); p.124-125,128

O'Connor, John J.
"The Thin Blue Line." (Living Arts Pages) (television program reviews) New York Times v138 (Wed, May 24, 1989):B3(N), C22(L), col 1, 11 col in.

Pardi, R.J..
"The thin blue line." Films in Review; SO: Vol.XXXIX nr.12 (Dec 1988); p.614-615

Prendergast, Alan.
"The Thin Blue Line": Errol Morris's hypnotic film has freed a man from prison. But is it journalism?" (includes related article) Washington Journalism Review v11, n3 (April, 1989):18 (5 pages).

Sherwin, Richard K.
"Framed." In: Legal Reelism: Movies as Legal Texts. Edited by John Denvir. Urbana: University of Illinois Press, c1996. pp: 70-94.
Main Stack PN1995.9.J8.L45 1996
Moffitt PN1995.9.J8.L45 1996

Sherwin, Richard K.
"Law frames: historical truth and narrative necessity in a criminal case." Stanford Law Review 47.n1 (Nov 1994): 39-83.
UC users only
"The alternative, non-linear narrative offered by Errol Morris' film 'The Thin Blue Line,' as a counterpart to the linear story told by the prosecution, demonstrates the conflict between the order required by the law and the confounding complexity of reality. The film questioned the capital conviction of Randall Dale Adams and ultimately lead to his release. In telling a story, and in presenting a criminal case, a linear narrative is constructed that excludes as much information as it includes. Morris deconstructs these conventions through offering multiple alternatives." [Expanded Academic Index]

Smoler, Fredric.
"The Thin Blue Line." (movie reviews) Nation v247, n15 (Nov 21, 1988):542 (3 pages).

Walker, Janet
"The Traumatic Paradox: Documentary Films, Historical Fictions, and Cataclysmic Past Events." Signs Vol. 22, No. 4 (Summer, 1997), pp. 803-825
UC users only

Williams, Linda
"Mirrors without memories. Truth, history, and the new documentary." Film Quarterly; Vol.XLVI nr.3 (Spring 1993); p.9-21
UC users only
The postmodernist approach of much contemporary film documentary and subsequent rejection of narrative has led to a weakening of 'historical truth'. Cites esp. "The thin blue line" and "Shoah".
also In: Film quarterly: forty years--a selection / edited by Brian Henderson and Ann Martin, with Lee Amazonas. pp: 308-28. Berkeley: University of California Press, c1999.
Main Stack PN1994.F439135 1999
Morrison Rm PN1994.F439135 1999

Marcel Ophuls

Ellickson, Lee
"The troubles he's seen: an interview with Marcel Ophuls." Cineaste Summer 1995 v21 n3 p8(8)
UC users only
"Marcel Ophuls has repeatedly documented the lives of Frenchmen who had participated in the French Resistance and the aftermath of the Nazi-perpetrated Holocaust. Ophuls' investigative method involves lengthy interviews with survivors, and often finds difficulty in coaxing people to talk about their experiences. His works, which include 'The Sorrow and the Pity,' and 'November Days,' are unified by his editing to create a structure to what otherwise would have been a rambling account." [Expanded Academic Index]

Frodon, Jean-Michel
"People and ideas: working at the human level." (interview with Marcel Ophuls)(France: New Visions)(Interview) Aperture Wntr 1996 n142 p70(2)
' French director Marcel Ophuls 1995 film Veillees d'armes, or The Troubles We've Seen: A History of Journalism in Wartime, is a documentary about life in Sarajevo, Bosnia, after years of wartime. He believes the Serbs' aggression is similar to Hitler's before World War II.He admires the journalists in Sarajevo who have tried to inform the public, but believes the television coverage and manipulation of images often distorts the reality of the situation." [Expanded Academic Index]

Gallagher, Michael.
"Marcel Ophuls: An Interview." Film Criticism, Fall77, Vol. 2 Issue 1, p32-35, 4p
UC users only

Greene, Naomi.
"La Vie en Rose: Images of the Occupation in French Cinema." In: Auschwitz and After: Race, Culture, and 'the Jewish Question' in France. Edited by Lawrence D. Kritzman. pp: 283-98. New York: Routledge, 1995.
Moffitt DS135.F83.A87 1995

Jacobsen, Kurt, ed.
"Marcel Ophuls, documentary filmmaker." In: Maverick voices: conversations with political and cultural rebels / [edited by] Kurt Jacobsen. Lanham, Md.: Rowman & Littlefield, c2004.
PFA CT105.M385 2004

Jacobsen, Kurt
"Memories of injustice: Marcel Ophuls' cinema of conscience." Film Comment July-August 1996 v32 n4 p61(7)
UC users only
"Filmmaker Marcel Ophuls has developed an impressive career out of documenting historical cases of officially sanctioned injustice. He has been particularly adept at exposing the self-rationalized behavior of criminals and collaborators during periods of extreme horror." [Expanded Academic Index]

Lowy, Vincent
Marcel Ophuls
/ Vincent Lowy ; préface de Michel Ciment ; entretiens avec Sophie Brunet, Marc Ferro [Latresne] : Bord de l'eau, c2008.
PMain (Gardner) Stacks PN1998.3.O62 L69 2008

Porton, Richard; Lee Ellickson.
"The Troubles He's Seen: An Interview with Marcel Ophuls." Cineaste, vol. 21 no. 3. 1995. pp: 8-13.
UC users only

Hotel Terminus

Canby, Vincent
"Hotel Terminus." (movie reviews) The New York Times Oct 6, 1988 v138 p17(N) pC25(L) col 5 (23 col

Cantor, Jay
"Death and the image." (portraying death in motion pictures) TriQuarterly Fall 1990 n79 p173(23)
Named Works: Shoah; Hotel Terminus: The Life and Times of Klaus Barbie

Ciment, Michel
"Joy to the World!" (Interview). American Film XIII/10, Sept 88; p.38-43. illus.
Director M.O. discusses his approach to the filming of "Hotel Terminus: Klaus Barbie, his life and times".

Golsan, Richard Joseph
"Hotel Terminus via the Velodrome d'hiver: Collaboration and the Aesthetics of Denial." L' Esprit Createur, vol. 33 no. 1. 1993 Spring. pp: 75-84.

Golsan, Richard Joseph
"Revising The Sorrow and the Pity: Marcel Ophuls's Hotel Terminus." In: Vichy's afterlife: history and counterhistory in postwar France / Richard J. Golsan Lincoln : University of Nebraska Press, c2000.
Full text available online (UC Berkeley users only)
Main (Gardner) Stacks DC397 .G59 2000

Insdorf, Annette.
"Shaping Reality:
"Shaping Reality: From Judgment to Illumination." In: Indelible shadows : film and the Holocaust / Annette Insdorf. Cambridge ; New York : Cambridge University Press, 2003.
Full text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1995.9.H53 I57 2003; PN1995.9.H53 I57 1989 (earlier edition)
Pacific Film Archive PN1995.9.H53 I57 2003

Kauffmann, Stanley
"Hotel Terminus." (movie reviews) The New Republic Oct 24, 1988 v199 n17 p28(3) (1314 words)
UC users only

Kemp, Philip.
"Hotel terminus." Sight & Sound, May2005, Vol. 15 Issue 5, p42-43, 2p

Klawans, Stuart
"Hotel Terminus." (movie reviews) The Nation Nov 7, 1988 v247 n13 p471(2)
UC users only

Lewis, Kevin
"Hotel Terminus." (Review). Films in Review XL/1, Jan 89; p.42-43.

McCrillis, Neal R.
"Shtetl and Hotel Terminus: History and Memory of the Shoah." Film & History Feb-Dec1996, Vol. 26 Issue 1-4, p94-95, 2p
UC users only

Ophuls, Marcel
"Klaus Barbie's circus of evil." (Letter from Lyons) The Nation June 27, 1987 v244 p884(4) (2081 words)
UC users only

Rubenstein, L.
"Hotel Terminus." (Review). Cineaste XVII/1, 89; p.37-38.

Simon, John
"Hotel Terminus: The Life and Times of Klaus Barbie." (movie reviews) National Review Dec 30, 1988 v40 n25 p52(2)

Stein, Elliott
"Hotel Terminus: the Life and Times of Klaus Barbie." (movie reviews) Film Comment Nov-Dec 1988 v24 n6 p56(1)

Suleiman, Susan Rubin
"History, memory, and moral judgment in documentary film: on Marcel Ophuls's hotel terminus: the life and times of Klaus Barbie." (Critical Essay) Critical Inquiry Wntr 2002 v28 i2 p509(33)
UC users only
UC users only

Suleiman, Susan Rubin
"History, memory, and moral judgment in documentary film: on Marcel Ophuls's hotel terminus: the life and times of Klaus Barbie." In: The art of being Jewish in modern times / edited by Barbara Kirshenblatt-Gimblett and Jonathan Karp. Philadelphia : University of Pennsylvania Press, c2008.
Main (Gardner) Stacks NX684.A4 A78 2008

Wohl, Robert.
"Hotel Terminus: the Life and Times of Klaus Barbie." (movie reviews) The American Historical Review, Vol. 94, No. 4 (Oct 1989), pp. 1041-1042. (UC Berkeley users only)

Sorrow and the Pity

Busi, Frederick.
"Marcel Ophls and 'The Sorrow and the Pity'>" Massachusetts Review, Spring1973, Vol. 14 Issue 1, p177-186, 10p

Cantor, Jay.
"Death and the Image." TriQuarterly, vol. 79. 1990 Fall. pp: 173-98.

Doherty,Thomas
"The Sorrow and the Pity."(Review) Cineaste Summer 2001 v26 i3 p50 (1532 words)
UC users only

Furman, Nelly
"Viewing memory through "Night and Fog", "The Sorrow and the Pity" and "Shoah"." Journal of European Studies 35,2 (2005) 169-185
UC users only

Greene, Naomi.
"La Vie en Rose: Images of the Occupation in French Cinema." In: Auschwitz and After: Race, Culture, and 'the Jewish Question' in France. Edited by Lawrence D. Kritzman. pp: 283-98. New York: Routledge, 1995.
Moffitt DS135.F83.A87 1995

James, Carol Plyley.
"Documentary and Allegory: History Moralized in Le Chagrin et la Pitie." The French Review, vol. 59 no. 1. 1985 Oct. pp: 84-89.

Insdorf, Annette.
"Shaping Reality: From Judgment to Illumination." In: Indelible shadows : film and the Holocaust / Annette Insdorf. Cambridge ; New York : Cambridge University Press, 2003.
Full text available online (UC Berkeley users only)
Main (Gardner) Stacks PN1995.9.H53 I57 2003; PN1995.9.H53 I57 1989 (earlier edition)
Pacific Film Archive PN1995.9.H53 I57 2003

Knight, Aruthur.
"Marcel Ophul' 'The Sorrow and the Pity'." In: The Documentary Tradition / selected arranged, and introduced by Lewis Jacobs 2d ed. pp: 521-23. New York; W. W. Norton, c1979
Main Lib PN1995.9.D6.J3 1979
Moffitt PN1995.9.D6.J3 1979

Ophuls, Marcel.
The Sorrow and the Pity; A Film. Introd. by Stanley Hoffmann. Filmscript translated by Mireille Johnston. Biographical and appendix material by Mireille Johnston. New York, Outerbridge & Lazard; distributed by Dutton [1972].
UCB Main DC397.O6313 1972
UCB Moffitt DC397.O6313 1972

Peary, Gerald; Turim, Maureen.
"An interview with Marcel Ophuls." Velvet Light Trap: A Critical Journal of Film & Television, Summer73, Issue 9, p40-45, 6p
UC users only

Reilly, C.P.
"The Sorrow and the Pity. (Film review)." Films in Review XXIII/4, Apr 72; p.248.

Reynolds, Sian.
"The Sorrow and the Pity Revisited: Or, Be Careful, One Train Can Hide Another." French Cultural Studies, vol. 1 no. 2 (2). 1990 June. pp: 149-59.
UC users only

Rubenstein, L.
"The Sorrow and the Pity." (Film review). Cineaste V/1, Winter 71-72; p.15-18.

Silverman, Michael
"The Sorrow and the Pity. (Film review)." Film Quarterly XXV/4, Summer 72; p.56-59.

Sobanet, Andrew.
"Revisiting "The Sorrow and the Piety": An Interview with Marcel Ophuls." Contemporary French Civilization, Summer/Fall2007, Vol. 31 Issue 2, p309-327, 19p
UC users only

Dennis O'Rourke

"Dennis O'Rourke." In: Biography/Filmography in culturebase.net

Lutkehaus, Nancy Christine C.
"'Excuse me, everything is not all right': on ethnography, film, and representation: an interview with filmmaker Dennis O'Rourke." Cultural anthropology (1989), p. 422-37.

O'Rourke, Dennis
"Documenting a Life Documentary Fictions: Bibliography, Truth and Moral Lies." National Library of Australia

Cannibal Tours

Errington Frederick, Gewertz, Deborah
"Cannibal Tours." (audio-visual reviews) American Anthropologist March 1989 v91 n1 p27(2)

O'Rourke, Dennis
"Beyond Cannibal tours: tourists, modernity and "the other"." In: Tourism and cultural development in Asia and Oceania / edited by Shinji Yamashita, Kadir H. Din, J.S. Eades. Cet. 1. Bangi: Penerbit Universiti Kebangsaan Malaysia, 1997.
Main Stack G155.A74.T653 1997

Stocks, Ian.
"The Troubles of Dennis O'Rourke." Senses of Cinema

Young, K. K.
"Visuality and the category of the Other: the cannibal tours of Dean MacCannell and Dennis O'Rourke." Visual anthropology review Vol. 8, no. 1 (1992), p. 92-6.
UC users only

The Good Woman of Bangkok

The Filmmaker and the prostitute: Dennis O'Rourke's The good woman of Bangkok
Edited by Chris Berry, Annette Hamilton a... Sydney: Power Publications, c1997.
Main Stack PN1997.G5943.F55 1997

Degabriele, Maria.
"From Madame Butterfly to Miss Saigon: One Hundred Years of Popular Orientalism." Critical Arts: A Journal of Cultural Studies. 10 (2): 105-18. 1996.

Geiger, Jeffrey.
"The Camera and Man: Colonialism, Masculinity, and Documentary Fiction." Third Text: Third World Perspectives on Contemporary Art & Culture. 42: 3-17. 1998 Spring.

Jayamanne, Laleen.
"Reception, genre, and the knowing critic: Dennis O'Rourke's The good woman of Bangkok." In: Toward cinema and its double: cross-cultural mimesis / Laleen Jayamanne. Bloomington: Indiana University Press, c2001. Arts and politics of the everyday.
Main Stack PN1993.5.A1.J37 2001

Kim, Eunjung; Jarman, Michelle
"Modernity's Rescue Mission: Postcolonial Transactions of Disability and Sexuality." Canadian Journal of Film Studies; Spring 2008, Vol. 17 Issue 1, p52-68, 17p
UC users only
"Two contemporary international films, Princess Mononoke, directed by Miyazaki Hayao, and The Good Woman of Bangkok, directed by Dennis O'Rourke, exemplify powerful ways in which narratives of modernity's humanitarian and charitable rescue, particularly on disabled and sexually exploited people of color, serve and mask modernist imperialist tendencies. Within the narratives of both films, people with disabilities, prostitutes, and feral subjects supply material proof for the need for external intervention in “unhealthy,” “premodern,” or otherwise “underdeveloped” social contexts. In many ways, disabled and stigmatized bodies are wielded strategically to demonstrate the benevolence of modernity, and, as such, they give those in power the negotiating tools to advance their imperialist and colonialist ambitions. In both films, the female protagonists resist, and therefore reveal, the violence at the core of modernity's benevolent gestures of inter- and intracultural rescue." [Ebsco]

O'Rourke, D.
"A rejoinder to 'Conceiving the post-colonial everyday: an interrogation of "The good woman of Bangkok"' by Martina Rieker." Visual anthropology review Vol. 9, no. 2 (1993), p. 114-17.

Rieker, M.
"Narrating the post-colonial everyday: an interrogation of "The good woman of Bangkok"." Visual anthropology review Vol. 9, no. 1 (1993), p. 116-22.
UC users only

Shimakawa, Karen.
"'Fake intimacy': Locating National Identity in Dennis O'Rourke's The Good Woman of Bangkok." Discourse: Journal for Theoretical Studies in Media and Culture. 17 (3): 126-50. 1995 Spring.

Stocks, Ian.
"The Troubles of Dennis O'Rourke." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 13: 2001 Apr-May.

Stones, Rob.
"Social Theory, Documentary Film and Distant Others: Simplicity and Subversion in The Good Woman of Bangkok." European Journal of Cultural Studies. 5 (2): 217-37. 2002 May
UC users only
"Framed by the ethical considerations of Martha Nussbaum on 'the lives of distant others' and Zygmunt Bauman on 'being-for' the Other, this article critically analyses Australian director Denis O'Rourke's 'documentary fiction film' The Good Woman of Bangkok, the story of Aoi, a woman from a rural village in Udon in the northeast of Thailand who works in the Bangkok sex trade. The analysis attempts to give specificity and critical precision to what is too often a more intuitive and generalized critique of the contribution of current affairs programmes to the quality of understanding in the public sphere. The article combines textual analysis and social theory - two forms of analysis too often kept apart - to analyse the relationship between the text of the documentary per se and the conceptualization of social reality within that text. I argue that The Good Woman of Bangkok contains two tales or narratives, a simple one with a simple moral, and a more sophisticated, subversive one that is more attuned - albeit imperfectly - to the requirements of a mature public sphere. The more subversive thread undermines the simple tale by disrupting our belief in the overly naive picture of social reality that the latter depends upon. The article incorporates an argument for more dialogue between social theorists and documentary film makers." [Sage]

Tsiolkas, Christos.
"Unrepresentable You. UTS Review: Cultural Studies and New Writing. 4 (2): 188-96. 1998 Nov.

Williams, Linda.
"The Ethics of Intervention: Dennis O'Rourke's The Good Woman of Bangkok." In: Collecting visible evidence / Jane M. Gaines and Michael Renov, editors. pp: 176-89. Minneapolis: University of Minnesota Press, c1999.
Main Stack PN1995.9.D6.C535 1999

D.A. Pennebaker / Chris Hegedus

Pennebaker Hegedus Films web site

Chase, Chris.
"Telling it all in front of Pennebaker's camera." (cinematographer D.A. Pennebaker) New York Times v133 (Fri, Dec 23, 1983):C8(L), col 5, 9 col in.

Espen, Hal.
"The Documentarians." (four documentary filmmakers) New Yorker v70, n5 (March 21, 1994):162 (2 pages).
Four documentary film directors stand out as practitioners of a most real craft: D.A Pennebaker, of 'Don't Look Back'; Frederick Wiseman, of 'Titicut Follies'; Barbara Kopple, of 'Harlan County, U.S.A.'; and Albert Maysles, of 'The War Room.'

Maslin, Janet.
"Visionaries with their eyes on the truth." (Summer Films: Indies)(Interview) New York Times, sec2A (Sun, May 2, 1999):MT37(N), MT37(L), col 5, 110 col in.
UC users only

Pennebaker, D.A.
"Looking back...." (film directors Robert Flaherty, Michael Powell and Jean-Luc Godard) Sight and Sound April 1997 v7 n4 p61(1)
"Robert Flaherty, Robert Powell and Jean-Luc Godard were three great directors. In 'Nanook of The North,' Flaherty courageously made a film about a person he had liked instead of doing what was dictated to him, as was the norm during his time. Powell's 'Night Mail' and 'Target for Tonight' were remarkable because they had such a strong concept. Finally, Godard impressed because of his irreverence and his disregard of convention." [Expanded Academic Index]

Swift, Lauren Lowenthal.
"D.A. makes 'em dance; Pennebaker." (D.A. Pennebaker, rock film director) Film Comment v24, n6 (Nov-Dec, 1988):44 (5 pages).

Don't Look Back

Baker, David
""I'm glad I'm not me!" Marking transitivity in Don't look back." Screening the Past, Issue 18 Uploaded Friday, 29 July 2005

Davidson, Adam J.
"Don't Look Back." (movie reviews) Mother Jones v23, n5 (Sep-Oct, 1998):85.

Hilburn, Robert.
"Don't Look Back." (moving-picture reviews) Los Angeles Times v102, secC (Sun, March 13, 1983):54, col 1, 34 col in.

Knobloch, Susan
"(Pass Through)The Mirror Moment and 'Don't Look Back': Music and Gender in a Rockumentary." In: Feminism and documentary / Diane Waldman and Janet Walker, editors. Minneapolis : University of Minnesota Press, c1999.
Main (Gardner) Stacks PN1995.9.W6 F447 1999
Moffitt PN1995.9.W6 F447 1999
Pacific Film Archive PN1995.9.W6 F447 1999

Nichols, Peter M.
"Which way the wind blows." (movie review) The New York Times Dec 24, 1999 pB42(N) pE44(L) col 4 (12 col in)
UC users only

Pareles, Jon
"When Dylan's Genius Burned Brightest; Dylan Burning Bright." New York Times Oct 11, 1998; pg. AR29,
UC users only

Rothman, William.
"Don't Look Back." In: Documentary film classics / William Rothman. Cambridge, Eng.; New York: Cambridge University Press, 1997.
Main Stack PN1995.9.D6.R69 1997
Contents: Includes bibliographical references (p. 211-213) and index. Nanook of the North -- Land without bread -- Night and fog -- Chronicle of a summer -- Cinema-Verite in America (I): A happy mother's day -- Cinema-Verite in America (II): Don't look back.

Whitehead, Kevin.
"Don't Look Back." (video recording reviews) Down Beat v59, n6 (June, 1992):58.

Monterey Pop

Holden, Stephen.
"Monterey Pop." New York Times v135, sec2 (Sun, Jan 12, 1986):H32(N), H32(L), col 6, 4 col in.

Kitts, Thomas M.
"Documenting, Creating, and Interpreting Moments of Definition: Monterey Pop, Woodstock, and Gimme Shelter." Journal of Popular Culture, vol. 42, no. 4, pp. 715-732, Aug 2009
UC users only

Schowalter Daniel F.
"Remembering the Dangers of Rock and Roll: Toward A Historical Narrative of the Rock Festival." Critical Studies in Media Communication March 2000 v17 i1 p86(17)
UC users only

Author's Abstract: COPYRIGHT 2000 Speech Communication Association "This essay argues that Michael Wadleigh's documentary Woodstock (1970) and Albert and David Maysles's Gimme Shelter (1970) help trace a historical narrative which potentially chronicles the hazardous "effects" of rock music. This narrative helps explain how contemporary attacks on rock music might continue to resonate with the larger public. Like a conspirator, "the music" in these films is largely invisible yet its pernicious effects are made clear. D. A. Pennebaker's Monterey Pop (1968) is offered as a palliative which subverts the assumptions of this narrative, making its music highly visible while not exploiting representations of the audience. In doing so, Monterey Pop exposes the conspiracy logic of the narrative." [Expanded Academic Index]

Primary

Hall, J.
"Realism as a style in cinema verite: a critical analysis of Primary." (Article). Cinema Journal XXX/4, Summer 91; p.24-50.
Reviews the early 1960's wave of US cinéma vérité documentaries, focusing on "Primary", showing how they construct their own brand of realism.

Shake

Holden, Stephen.
"Shake" (Otis Redding). (Living Arts Pages) (movie reviews) New York Times v138 (Wed, July 12, 1989):B2(N), C14(L), col 4, 7 col in.

The War Room

Bernstein, Amy
"The hidden life of the war room." (documentary 'The War Room' about the campaign center of President Bill Clinton) U.S. News & World Report April 12, 1993 v114 n14 p21(1)
"'The War Room,' a 90-minute documentary directed by D.A. Pennebaker and Chris Hegedus, illustrates the activities at the command center in Little Rock, AR, during Pres Clinton's presidential campaign. James Carville and George Stephanopoulos will attend a private screening before the final edit." [Expanded Academic Index]

Carlson, Margaret
"Clinton campaign home movies. (Pres Clinton's campaign workers view themselves." in 'The War Room') Time Nov 22, 1993 v142 n22 p20(1) (536 words)
" Veterans of the Clinton presidential campaign watched themselves on screen at the Washington, DC, premier of the documentary film 'The War Room.' The lesser-known workers received the biggest applause, while boos and jeers were addressed to Pat Buchanan and Ross Perot." [Expanded Academic Index]

Cohn, Bob; Turque, Bill.
"'The War Room' Stars Fade Out." (Clinton administration insiders featured in the movie 'The War Room') Newsweek v126, n6 (August 7, 1995):30 (2 pages).

Ellis, David
"D.A. Pennebaker: the first rockumentarian does for James Carville what he once did for an unwary Bob Dylan." (documentary of the 1992 Presidential campaign of Bill Clinton) People Weekly Nov 8, 1993 v40 n19 p109(4)
"Pennebaker filmed more than 50 hours of the 1992 presidential campaign of Pres Bill Clinton and made a 90-minute documentary from the footage he shot. He has made documentaries since 1950, but received fame for his 1965 documentary about singer Bob Dylan. His career and personal life are described." [Expanded Academic Index]

Hagstrom, Jerry.
"So Now it Can be Told." (documentary film on Pres Clinton's electoral campaign) National Journal v25, n12 (March 20, 1993):703 (3 pages).

Kauffmann, Stanley
"The War Room." (movie reviews) The New Republic Nov 22, 1993 v209 n21 p26(1)
UC users only

Maslin, Janet.
"The War Room." (movie reviews) New York Times v143 (Wed, Oct 13, 1993):B3(N), C15(L), col 1, 19 col in.

Parry-Giles, Shawn J.; Trevor Parry-Giles.
"Meta-Imaging, The War Room, and the hyperreality of U.S. politics." Journal of Communication Wntr 1999 v49 i1 p28(1)
"Voters making their electoral choices see issues and images as intertwined, and presidential candidates have always paid attention to the electable image they portray to the voters. However many political commentators and critics dismiss such image dimensions, claiming that they debase politics and distort governmental processes. A new form of image politics, is the meta-image, which is a communicative act whereby political campaigns display publicly the art and practice of political image construction. The uses and consequences of image politics are exploring through an example in the 1993 film, The War Room." [Expanded Academic Index]

Pizzello, Stephen
"Waging a film in The war room." (Interview). American Cinematographer LXXV/1, Jan 94; p.58-64. illus.
The documentary-making team D.A. Pennebaker and Chris Hegedus recall their experiences with "The War Room", a film on the Democratic Party campaign.

Rafferty, Terrence.
"The War Room." (movie reviews) New Yorker v69, n37 (Nov 8, 1993):124 (3 pages).

Schickel, Richard
"The War Room." (movie reviews) Time Nov 8, 1993 v142 n19 p88(1)
UC users only

Senior, Jennifer.
"Hollywood on the Potomac: a new documentary has created a new kind of political star in the capital; of course, the happy ending helped a lot." ('The War Room' documentary about Bill Clinton's presidential campaign) New York Times v143, sec9 (Sun, Dec 12, 1993):V1(L), col 1, 27 col in.

Senior, Jennifer.
"This time, Washington's film stars really are the President's men." ('The War Room,' a documentary about the Clinton presidential campaign; Washington D.C.) (Living Arts Pages) New York Times v143 (Mon, Dec 13, 1993):B1(N), col 1, 30 col in.

Southern, Terry.
"Strangelove Outtake: Notes from the War Room." Grand Street v13, n1 (Summer, 1994):64 (17 pages)

Stoney, George C.
"The War Room." (movie reviews) Cineaste v20, n3 (Summer, 1993):57 (2 pages).
UC users only

"The War Room." (movie reviews)
Rolling Stone, n670 (Nov 25, 1993):126 (2 pages).

Lourdes Portillo

Fregoso, Rosa-Linda
"Devils and Ghosts, Mothers and Immigrants: A Critical Retrospective of the Works of Lourdes Portillo." In: Lourdes Portillo: The devil never sleeps and other films / edited by Rosa Linda Fregoso. 1st ed. pp: 81-101. Austin: University of Texas Press, 2001. Chicana matters series.
Main Stack PN1998.3.P675.L68 2001

Fregoso, Rosa-Linda
"Interview with Lourdes Portillo (1994)." In: Lourdes Portillo: The devil never sleeps and other films / edited by Rosa Linda Fregoso. 1st ed. pp: 40-47. Austin: University of Texas Press, 2001. Chicana matters series.
Main Stack PN1998.3.P675.L68 2001

Fregoso, Rosa-Linda
"Screening Resistance." In: Mapping multiculturalism / Avery F. Gordon and Christopher Newfield, editors. pp: 187-97 Minneapolis: University of Minnesota Press, c1996.
Main Stack E184.A1.M29 1996

Martinez, Michelle J.
"Cinema Chicana: An Interview with Lourdes Portillo." Journal of Film and Video Volume 62, Numbers 1-2, Spring/Summer 2010 pp. 23-30
UC users only

McCormick, Adrienne
"Veiling Practices, Invisibility, and Knowledge Production in the Documentary Films of Trinh T. Minh-ha, Barbara Hammer, and Lourdes Portillo." In: Visual media and the humanities : a pedagogy of representation / edited by Kecia Driver McBride. Knoxville : University of Tennessee Press, c2004.
Main (Gardner) Stacks AZ183.U5 V57 2004

Newman, Kathleen; Rich, B. Ruby
"Interview with Lourdes Portillo(1990." In: Lourdes Portillo: The devil never sleeps and other films / edited by Rosa Linda Fregoso. 1st ed. pp: 48-73. Austin: University of Texas Press, 2001. Chicana matters series.
Main Stack PN1998.3.P675.L68 2001

Velasco, Juan.
"The Cultural Legacy of Self-Consciousness: An Interview with Lourdes Portillo." Journal of Latinos & Education. 1 (4):245-53. 2002

Despues del Terremoto (After the Earthquake)

Crossette, Barbara.
"Despues del terremoto." (moving-picture reviews) New York Times v133 (Fri, July 6, 1984):C22(L), col 5, 5 col in.

The Devil Never Sleeps

Fregoso, Rosa-Linda
"Sacando los trapos al sol (Airing Dirty Laundry) in Lourdes Portillo's Melodocumystery The Devil Never Sleeps." In: Redirecting the gaze: gender, theory, and cinema in the Third World / edited by Diana Robin and Ira Jaffe. pp: 307-29 Albany: State University of New York Press, c1999. SUNY series, cultural studies in cinema/video.
Main Stack PN1995.9.W6.R45 1999

Holden, Stephen.
"The Devil Never Sleeps." (movie reviews) New York Times v144 (Mon, March 20, 1995):C12(L), col 3, 10 col in.

McBane, Barbara
"Pinning Down the Bad-Luck Butterfly." In: Lourdes Portillo: The devil never sleeps and other films / edited by Rosa Linda Fregoso. 1st ed. pp: 160-85. Austin: University of Texas Press, 2001. Chicana matters series.
Main Stack PN1998.3.P675.L68 2001

Prieto, Norma Iglesias
"Who Is the Devil, and How or Why Does He or She Sleep?: Viewing a Chicana Film in Mexico." In: Lourdes Portillo: The devil never sleeps and other films / edited by Rosa Linda Fregoso. 1st ed. pp: 144-59. Austin: University of Texas Press, 2001. Chicana matters series.
Main Stack PN1998.3.P675.L68 2001

Thouard, Sylvie
"Performances of The Devil Never Sleeps/El diablo nunca duerme." In: Lourdes Portillo: The devil never sleeps and other films / edited by Rosa Linda Fregoso. 1st ed. pp: 119-43. Austin: University of Texas Press, 2001. Chicana matters series.
Main Stack PN1998.3.P675.L68 2001

Torres, M. F.
"Exorcizing/exercising treachery: Robust subjectivity in Lourdes Portillo's The Devil Never Sleeps." Velvet Light Trap, vol. 57, pp. 76-85, 2006
UC users only
"Lourdes Portillo's The Devil Never Sleeps, a film that charts the filmmaker's investigation of the death of her uncle, is fully immersed in the late-20th-century developments in documentary filmmaking. There is little doubt that this film provides a viewing experience that has been carefully crafted by Portillo. Some argue that this film is a perfect example of the postmodern critique of knowledge-the endless deferral of the absolute that the director, and, by extension, the spectator allegedly seeks. It has been suggested that Portillo asserts this critique by providing a dizzying number of possible conclusions for her investigation and by steadfastly refusing to privilege one possibility over another. Viewers do not, will not, and cannot know who killed her uncle, Oscar. This film in its resistance to closure, contests the assumptions that there is a final signified and that this final signified can be reproduced. However, the author cannot agree that the film is simply about what can or cannot be known. It is a more sophisticated performance, the author argues, that Portillo is engaged in the film. She does more than deconstruct the transcendental author who produced the transcendental signified. She constructs a different sort of author who constructs a different sort of knowledge, and she does this, at least in part, by manipulating audience expectations of the murder mystery/crime story genre." [Communication Abstracts]

Yarbro Bejarano, YvonneIronic
"Framings: A Queer Reading of the Family (Melo)Drama in Lourdes Portillo's The Devil Never Sleeps/El diablo nunca duerme." In: Lourdes Portillo: The devil never sleeps and other films / edited by Rosa Linda Fregoso. 1st ed. pp: 102-18. Austin: University of Texas Press, 2001. Chicana matters series.
Main Stack PN1998.3.P675.L68 2001

Las Madres de la Plaza de Mayo

Fusco, Coco
"Las madres de la Plaza de Mayo: An Interview with Susan Munoz and Lordes Portillo." Cineaste 1986, 15:1, 22-25.

Jhirad, Susan
"Las Madres de la Plaza de Mayo." (motion picture review) Cineaste v 15 no1 1986. p. 25-6.

Pally, Marcia
"Las madres: the mothers of the Plaza de Mayo." (movie reviews) The Nation April 26, 1986 v135 p595(2) (823 words)

La Ofrenda

Masuoka, Susan N.
"La Ofrenda." (movie reviews) Western Folklore v53, n1 (Jan, 1994):92 (4 pages).

Newman, Kathleen
"Steadfast Love and Subversive Acts: The Politics of La Ofrenda: The Days of the Dead" In: Visible nations: Latin American cinema and video / Chon A. Noriega, editor. pp: 285-301 Minneapolis: University of Minnesota Press, c2000.
Main Stack PN1993.5.L3.V58 2000

Nutini, Hugo G.
"La Ofrenda: The Days of the Dead." (video recording reviews) American Anthropologist v93, n3 (Sept, 1991):772 (2 pages).

Señorita Extraviada

Backstein, Karren
"Señorita Extraviada." (Movie Review) Cineaste Winter 2002 v28 i1 p40(3) (1162 words)
UC users only

Binfield, Marnie.
"An Interview with Lourdes Portillo. Velvet Light Trap: A Critical Journal of Film & Television, Spring2005 Issue 55, p33-38, 6p,
UC users only

Camps, Martín.
"Señorita Extraviada." Chasqui. May 2004. Vol. 33, Iss. 1; p. 195 (2 pages)

Carroll, Amy Sara.
""Accidental Allegories" Meet "The Performative Documentary": Boystown, Señorita Extraviada, and the Border-Brothel Maquiladora Paradigm." Signs: Journal of Women in Culture & Society, Winter2006, Vol. 31 Issue 2, p357-396, 40p
UC users only

Enriquez, Alejandro.
"Lourdes Portillo's Señorita extraviada: The Poetics and Politics of Femicide." Studies in Latin American Popular Culture, 2004, Vol. 23, p123-136, 14p
UC users only

Gonzalez, Rita.
"The Said and the Unsaid: Lourdes Portillo tracks Down Ghost in Señorita Extraviada." Aztlan, Fall2003, Vol. 28 Issue 2, p235-240, 6p\

Ibarra, Cristina.
"Señorita extraviada (Film)." Criticas, Jan/Feb2003, Vol. 3 Issue 1, p63
UC users only

Navarro, Mireya
"Who is killing the young women of Juarez? A filmmaker seeks answers." (Lourdes Portillo discusses her documentary 'Señorita Extraviada')(The Arts) The New York Times August 19, 2002 pB3(N) pE3(L) col 1 (26 col in)

Stratton, David.
"Missing Young Woman." (Review) Variety Oct 15, 2001 v384 i9 p41

Portillo, Lourdes.
"Filming Señorita Extraviada." Aztlan, Fall2003, Vol. 28 Issue 2, p229-234, 6p

Alain Resnais

Night and Fog

Bernard-Donals, Michael F.
"Film and the Shoah: The Limits of Seeing." In: Between witness and testimony: the Holocaust and the limits of representaion / Michael Bernard-Donals, Richard Glejzer. pp: 105-111. Albany: State University of New York Press, c2001.
GRDS: NX456 .B48 1993

Bersani, Leo.
Arts of impoverishment: Beckett, Rothko, Resnais Cambridge, Mass.: Harvard University Press, 1993.
Graduate Services NX456 .B48 1993
Main (Gardner) Stacks NX456 .B48 1993
Main (Gardner) Stacks NX456 .B48 1993

Bersani, Leo.
"Sadism and Film: Freud and Resnais." Qui Parle: Literature, Philosophy, Visual Arts, History vol. 6 no. 1. 1992 Fall-Winter. pp: 1-34.

Boswell, Matthew
"Night and fog (Alain Resnais, 1955)." In: Holocaust impiety in literature, popular music and film / Matthew Boswell. Basingstoke ; New York : Palgrave Macmillan, 2012.
Main (Gardner) Stacks PN56.H55 B67 2012

Cantor, Jay.
"Death and the Image." TriQuarterly vol. 79. 1990 Fall. pp: 173-98.

Cantor, Jay.
"Death and the Image." In: Beyond document: essays on nonfiction film / edited by Charles Warren. pp: 23-49. Hanover, NH: University Press of New England, c1996.
Main Stack PN1995.9.D6.B48 1996
Moffitt PN1995.9.D6.B48 1996

Colombat, André
"Alain Resnais' Night and Fog." In: The Holocaust in French film / by Andre Pierre Colombat. pp: 121-166. Metuchen, N.J.: Scarecrow Press, 1993. Filmmakers series; no. 33.
Main Stack PN1995.9.H53.C66 1993

Colombat, André
The Holocaust in French film / by André Pierre Colombat. Metuchen, N.J. : Scarecrow Press, 1993
Main (Gardner) Stacks PN1995.9.H53 C66 1993
Pacific Film Archive PN1995.9.H53 C66 1993

Coury, David N..
"'Auch ruhiges Land...': Remembrance and Testimony in Paul Celan's Nuit et Brouillard Translation." Prooftexts: A Journal of Jewish Literary History. 22 (1-2): 55-76. 2002 Winter-Spring.
UC users only

Delage, Christian; Darke, Chris (translator)
"Nuit et Brouillard: A Turning Point in the History and Memory of the Holocaust." In: Holocaust and the moving image : representations in film and television since 1933 / edited by Toby London ; New York : Wallflower, 2005.
Main (Gardner) Stacks PN1995.9.H53 H65 2005

Dumling A.
"Eisler's music for Resnais' 'Night and Fog' (1955): a musical counterpoint to the cinematic portrayal of terror." Historic Journal of Film, Radio and Television, 18: (4) 575-584 Oct. 1998
UC users only

Flitterman-Lewis, Sandy.
"Documenting the Ineffable: Terror and Memory in Alain Resnais's Night and Fog." In: Documenting the Documentary: Close Readings of Documentary Film and Video
Edited by Barry Keith Grant and Jeannette Sloniowski. pp: 204-22. Detroit: Wayne State University Press, c1998.
Moffitt PN1995.9.D6.D58 1998)
Preview of this chapter (via Google books)

Furman, Nelly
"Viewing memory through "Night and Fog", "The Sorrow and the Pity" and "Shoah"." Journal of European Studies 35,2 (2005) 169-185
UC users only

Hebard, Andrew.
"Disruptive Histories: Toward A Radical Politics Of Remembrance In Alain Resnais's Night And Fog." New German Critique 1997 (71): 87-113.
UC users only
"A scandal broke at the 1956 Cannes Film Festival when the West German foreign office convinced French officials not to screen Night and Fog, a 1955 Holocaust documentary by French filmmaker Alain Resnais that depicted French police officers assisting with Nazi prisoner deportations during World War II. The author comments on the controversy, which was occasioned as much by Resnais's juxtaposition of archival material with contemporary footage as by the censorship, and on questions of reality, remembrance, and history." [Historical Abstracts]

Hirsch, Joshua Francis
"Night and Fog and the Origins of Posttraumatic Cinema." In: Afterimage : film, trauma, and the Holocaust / Joshua Hirsch. Philadelphia : Temple University Press, c2004.
Full text available online (UC Berkeley users only
Main (Gardner) Stacks

Holocaust and the moving image: representations in film and television since 1933
Edited by Toby Haggith & Joanna Newman. London; New York: Wallflower, 2005.
Main Stack PN1995.9.H53.H65 2005
Section 1. Film as witness -- Film and the making of the Imperial War Museum's Holocaust exhibition / Suzanne Bardgett -- Preparing the video displays for the Imperial War Museum's Holocaust exhibition / Annie Dodds -- Filming the liberation of Bergen-Belsen / Toby Haggith -- Separate intentions: the Allied screening of concentration camp documentaries in defeated Germany in 1945-46: Death mills and Memory of the camps / Kay Gladstone -- A witness to atrocity: film as evidence in international war crimes tribunals / Helen Lennon -- Section 2. Film as propaganda -- Veit Harlan's Jud Suss / Susan Tegel -- Fritz Hippler's The eternal Jew / Terry Charman -- Film documents of Theresienstadt / Lutz Becker -- Terezin: the town Hitler gave to the Jews / Zdenka Fantlova-Ehrlich -- The Ministry of Information and anti-Fascist short films of the Second World War / Matthew Lee -- Fighting the government with its own propaganda: the struggle for racial equality in the USA during the Second World War / Stephen Tuck -- Section 3. The Holocaust documentary in film and television -- Nuit et Brouillard: a turning point in the history and memory of the Holocaust / Christian Delage -- Baggage and responsibility - The world at war and the Holocaust / Michael Darlow -- The Nazis: a warning from history / Laurence Rees -- Kitty - Return to Auschwitz / Peter Morley -- Some reflections on Claude Lanzmann's approach to the examination of the Holocaust / Raye Farr -- But is it documentary? / Orly Yadin -- Silence: the role of the animators / Ruth Lingford & Tim Webb -- Oswiecim/Auschwitz: the shooting goes on... / Mira Hamermesh -- Seeing and hearing for ourselves: the spectacle of reality in the Holocaust documentary / Elizabeth Cowie -- Section 4. The Holocaust in feature films -- An overview of Hollywood cinema's treatment of the Holocaust / Trudy Gold -- Escape from Sobibor: a film made for television depicting the mass escape from Sobibor Extermination Camp / Jack Gold -- The Holocaust, film and education / Ian Wall -- Young people's viewing of Holocaust films in different cultural contexts / Anna Reading -- Living with the long journey: Alfred Radok's Daleka Cesta / Jiri Cieslar -- Double memory: the Holocaust in Polish film / Ewa Mazierska -- For the few, not the many: delusion and denial in Italian Holocaust films / Giacomo Lichtner -- The survivors' right to reply / Trudy Gold ... [et al.] -- Section 5. Legacy and other genocides -- Human Holocaust / Michael Darlow -- The Nazis: a warning from history / Laurence Rees -- Kitty - Return to Auschwitz / Peter Morley -- Some reflections on Claude Lanzmann's approach to the examination of the Holocaust / Raye Farr -- But is it documentary? / Orly Yadin -- Silence: the role of the animators

Insdorf, Annette.
"Meaningful Montage." and "The Personal Documentary." In: Indelible shadows : film and the Holocaust / Annette Insdorf. Cambridge : Cambridge University Press, 1989.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.H53 I57 1989
Moffitt PN1995.9.H53 I57 1989 c.11

Kligerman, Eric
"Celan's cinematic : anxiety of the gaze in Night and fog and "Engfuhrung"." In: Visualizing the Holocaust : documents, aesthetics, memory / edited by David Bathrick, Brad Prager, and Michael D. Richardson. Rochester N.Y. : Camden House, 2008.
Main Stack D804.3.V57 2008

Krantz, Charles.
"Alain Resnais' "Nuit et Brouillard"; a historical and cultural analysis." Holocaust Studies Annual 3 (1987) 107-120

Krantz, Charles.
"Teaching Night And Fog: History And Historiography." Film & History 1985 15(1): 2-15.
UC users only
Discusses, and suggests reasons for, the failure of the film Night and Fog (1955), by French director Alain Resnais, to show that the victims of the Nazi Holocaust were predominantly Jewish.

Krantz, Charles K.
"Alain Resnais' Nuit et brouillard: A Historical and Cultural Analysis." In: Literature, the Arts, and the Holocaust. pp: 107-120. Series title: Holocaust Studies Annual 3 (1985)
Main Stack D810.J4.H654

Leahy, James.
"Nuit et brouillard." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 26: (no pagination). 2003 May-June.

Michael, Robert.
"A Second Look: Night and Fog." Cineaste, vol. 13 no. 4. 1984. pp: 36-37.
Criticizes the film for ignoring the particularity of the Jewish holocaust.

Moses, John W.
"Vision Denied in Night and Fog and Hiroshima Mon Amour." Literature/ Film Quarterly, vol. 15 no. 3. 1987. pp: 159-163.
In "Nuit et Brouillard" and "Hiroshima, Mon Amour",the dialectic between our faith in the cinematic images and Resnais' subversion of them produces a synthesis by which we do indeed see something.

Pauly, Rebecca M.
"From Shoah to Holocaust: Image and Ideology in Alain Resnais's Nuit et Brouillard and Hiroshima Mon Amour." French Cultural Studies, vol. 3 no. 3 (9). 1992 Oct., pp. 253-61.
UC users only

Pautrot, Jean-Louis.
"Music and Memory in Film and Fiction: Listening to Nuit et brouillard (1955), Lacombe Lucien (1973) and La ronde de nuit (1969)." Dalhousie French Studies. 55: 168-82. 2001 Summer.

Raskin, Richard.
Nuit et Brouillard by Alain Resnais: On the Making, Reception and Functions of a Major Documentary Film: including a new interview with Alain Resnais and the original shooting script / Richard Raskin; Aarhus: Aarhus University Press, 1987.
UCB Main PN1995.9.H53 R38 1987

Renga, Dana.
"Staging Memory and Trauma in French ind Italian Holocaust Film." Romanic Review, May-Nov2006, Vol. 97 Issue 3/4, p461-482, 22p
UC users only

Rice, Louisa
"The voice of silence: Alain Resnais' Night and fog and collective memory in post-Holocaust France, 1944-1974." Film & History Vol XXXII nr 1 (2002); p 22-29.
UC users only
Explores the political and cultural environment that contributed to Resnais' failure to identity French complicity in the Holocaust, as well as, his failure to name the Jews as the central victims of the Holocaust.

Rothman, William.
"Night and fog." In: Documentary film classics / William Rothman. Cambridge, Eng.; New York: Cambridge University Press, 1997.
Main Stack PN1995.9.D6.R69 1997

Schreivogel, Paul A.
Night and Fog: (Nuit et brouillard) Film Study / by Paul A. Schreivogel. Dayton; G.A. Pflaum, c1970. Series title: Films in depth.
UCB Main PN1997.N8 S361

Silverman, Max
"Horror and the Everyday in Post-Holocaust France: Nuit et brouillard and Concentrationary Art." French Cultural Studies, Vol. 17, No. 1, 5-18 (2006)
UC users only

Uncovering the Holocaust: the international reception of Night and fog / edited by Ewout van der Knaap. London; New York: Wallflower, 2006.
Main Stack D804.3.N853.U53 2006
Contents via Google books

Wilson, Emma.
"Material Remains: Night and Fog." October, Spring2005 Issue 112, p89-110, 22p
UC users only

Leni Riefenstahl

See separate bibliography on Leni Reifenstahl

Jean Rouch

SEE Ethnographi film bibliography

Trinh T. Minh-Ha

See separate bibliography

Dziga Vertov

See MRC Soviet film bibliography

Frederick Wiseman

Ames, Elizabeth.
"Frederick Wiseman's Candid Camera." Horizon 1981 24(9): 62-67.
Discusses the work of controversial documentary filmmaker Frederick Wiseman, who produced one documentary a year from 1967 to 1981, including High School (1968), Basic Training (1971), and Model (1981).

Armstrong, Dan.
"Wiseman and the Politics of Looking: Manoeuvre in the Documentary Project." Quarterly Review of Film and Video v11, n4 (Feb, 1990):35 (16 pages).
UC users only

Atkins, Thomas R.
"Frederick Wiseman's America: Titicut Follies to Primate." In: In The Documentary Tradition / edited by Lewis Jacobs. pp. 536-550. 2nd ed. New York: Norton, 1979
Main Stack PN1995.9.D6.J3 1979
Moffitt PN1995.9.D6.J3 1979)

Baker, Carolyn D.
"Knowing Things and Saying Things: How a Natural World Is Discursively Fabricated on a Documentary Film Set." Journal of Pragmatics 13.3 (June 1989): 381-393.

Benson, Thomas W.
Reality fictions; the films of Frederick Wiseman / Thomas W. Benson and Carolyn Anderson. 2nd ed. Carbondale, Ill.; Southern Illinois University Press, 2002.
UCB Main PN1998.3.W57 B46 2002

Benson, Thomas W. and Carolyn Anderson.
Reality Fictions: The Films of Frederick WisemanCarbondale, IL: Southern Illinois University Press, c1989.
UCB Main PN1998.3.W57 B461 1989
UCB Moffitt PN1998.3.W57 B461 1989

Benson, Thomas W.
"The Rhetorical Structure of Frederick Wiseman's Primate." The Quarterly Journal of Speech, vol. 71 no. 2. 1985 May. pp: 204-217.

Boyle, Deirdre
"An American Inspector: Frederick Wiseman." The Independent: Film and Video Monthy, May 2000 pp: 36-40

Curry, Timothy Jon
"Frederick Wiseman: Sociological Filmmaker?" Contemporary Sociology, Vol. 14, No. 1 (Jan., 1985), pp. 35-39
UC users only

David Bromwich, John Hollander, Joseph Rykwert, Frederick Wiseman.
"Part 1: Private/Public: The Evolution of the Distinction." Social Research Spring 2001 v68 i1 p1

Denby, David.
"The Real Thing." (filmmaker Frederick Wiseman) New York Review of Books v37, n17 (Nov 8, 1990):24 (5 pages).

Ellsworth, Liz.
Frederick Wiseman, A Guide to References and Resources. Boston: G. K. Hall, c1979.
NRLF B 3 161 839

Encyclopedia of the documentary film
Ian Aitken, editor. New York: Routledge, 2006.
Media Center PN1995.9.D6.E53 2006
Main Stack PN1995.9.D6.E53 2006

Espen, Hal.
"The Documentarians." (four documentary filmmakers) New Yorker v70, n5 (March 21, 1994):162 (2 pages).
Four documentary film directors stand out as practitioners of a most real craft: D.A Pennebaker, of 'Don't Look Back'; Frederick Wiseman, of 'Titicut Follies'; Barbara Kopple, of 'Harlan County, U.S.A.'; and Albert Maysles, of 'The War Room.'

Ferguson, Gretje
"The Unflinching eye of Frederick Wiseman." United States 1994. American Cinematographer, v. 75 (Jan. '94) p. 75-7.

Grant, Barry Keith
Five films by Frederick Wiseman Berkeley: University of California Press, c2006.
MAIN: PN1998.3.W57 G72 2006
PFA: PN1998.3.W57 G72 2006
Table of contents http://www.loc.gov/catdir/toc/ecip059/2005006233.html

Grant, Barry Keith
Voyages of Discovery: The Cinema of Frederick Wiseman / Barry Keith Grant. Urbana: University of Illinois Press, c1992.
UCB Main PN1998.3.W57 G73 1992;

Holland, Patricia
"Taking time." (Frederick Wiseman) New Statesman (1996), Nov 20, 2000 v129 i4513 p45
UC users only

"Homage." (documentary producer Frederick Wiseman)
New Yorker v67, n48 (Jan 20, 1992):26 (2 pages).

Kramer, K., et. al.
"La chance et le choix: entretien avec Frederick Wiseman." [Interview]. Cahiers du Cinema no. 617 (November 2006) p. 43-7
An interview with documentary filmmaker Frederick Wiseman. Topics discussed include Wiseman's recent and current projects; his film Belfast, Maine and its relationship to his other films; his belief that America is too complicated a place to be fully captured on film by anyone; the fact that he edits his own films; and his approach to shooting. A retrospective of Wiseman's work is at the Cinematheque francaise and the Centre Pompidou, Paris, in November 2006.

Lopate, Philip.
"Composing an American epic; Frederick Wiseman's 30 documentaries make up 'one long movie' about nearly every aspect of American life." (retrospective of his films and premiere of his latest, 'Belfast, Maine,' at... New York Times (Sun, Jan 23, 2000):AR11(N), AR11(L), col 1, 35 col in.

Maslin, Janet.
"Visionaries with their eyes on the truth." (Summer Films: Indies)(Interview) New York Times, sec2A (Sun, May 2, 1999):MT37(N), MT37(L), col 5, 110 col in.

McEnteer, James
Shooting the truth: the rise of American political documentaries Westport, Conn.: Praeger Publishers, c2006.
MAIN: PN1995.9.D6 M38 2006
MOFF: PN1995.9.D6 M38 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0515/2005019270.html

McWilliams, Donald E.
"Frederick Wiseman." Film Quarterly Vol. 24, No. 1 (Autumn, 1970), pp. 17-26
UC users only

Nichols, Bill
"Fred Wiseman's Documentaries: Theory and Structure." Film Quarterly Vol. 31, No. 3 (Spring, 1978), pp. 15-28
UC users only

Nicholson, Philip; Nicholson, Elizabeth.
"Meet Lawyer-Filmmaker Frederick Wiseman." American Bar Association Journal, Mar1975, Vol. 61 Issue 3, p328, 5p
UC users only

Pierson, Melissa.
"Fly on the Wall." (documentary film director Frederick Wiseman) Vogue v183, n6 (June, 1993):84 (2 pages).

Rapfogel, Jared.
"The Birth, Life, and Death of a Nation: A Portrait by Frederick Wiseman." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 19:(no pagination). 2002 Mar-Apr

Ricks, Christopher; Wiseman, Frederick
"Language and Documentary Film: A Conversation with Frederick Wiseman." The Threepenny Review, No. 41 (Spring, 1990), pp. 9-10 UC users only

Ricks, Christopher
"
"Wiseman's Witness Wiseman's Witness." Grand Street, Vol. 8, No. 2 (Winter, 1989), pp. 160-171
UC users only

Scherer, Robert F.; Baker, Bud.
"Exploring Social Institutions Through the Films of Frederick Wiseman." Journal of Management Education, Apr99, Vol. 23 Issue 2, p143, 11p

Snyder, Sharon; Mitchell, David.
"The Visual Foucauldian: Institutional Coercion and Surveillance in Frederick Wiseman's Multi-handicapped Documentary Series." Journal of Medical Humanities, Winter2003, Vol. 24 Issue 3/4, p291-308, 18p

Spotnitz, Frank.
"Frederick Wiseman: A Documentarist Who Sees His Work as Manipulation and Sport." American Film v16, n5 (May, 1991):16 (6 pages).

Sullivan, Patrick J.
"What's All the Cryin' about?" The Films of Frederick Wiseman The Massachusetts Review, Vol. 13, No. 3 (Summer, 1972), pp. 452-468
UC users only

Winston, Brian
"'A riddle wrapped in a mystery inside an enigma': Wiseman and Public Television." Studies in Documentary Film Volume: 3 | Issue: 2 2009
UC users only

Wiseman, Frederick.
"Privacy and Documentary Filmmaking." Social Research, Spring2001, Vol. 68 Issue 1, p41-47, 7p
UC users only

Central Park

Schwartz, Richard A.
"Frederick Wiseman's modernist vision: Central Park." Literature Film Quarterly, 1995, Vol. 23 Issue 3, p223, 6p
UC users only

Domestic Violence

Denby, David
"Women and children; Frederick Wiseman's 'Domestic Violence.'" (movie review) The New Yorker Feb 11, 2002 v77 i47 p92(2)

Kehr, Dave
"Vicious cycle." (Frederick Wiseman discusses his film 'Domestic Violence') The New York Times Feb 1, 2002 pB24(N) pE24(L) col 5

Klawans, Stuart
"A Crowbar to the Face." (Domestic Violence) (movie review) The Nation March 4, 2002 v274 i8 p36

Mitchell, Elvis
"Battering begins; the police come; it all starts again." ("Domestic Violence")(Living Arts Pages)_(movie review) The New York Times Jan 30, 2002 s0 pB1(N) pE1(L) col 1 (25 col in)

La Danse

Garcia, Maria
"La Danse and the Rhythms of Institutions: An Interview with Frederick Wiseman." Cineaste: America's Leading Magazine on the Art and Politics of the Cinema, vol. 35, no. 2, pp. 12-16, Spring 2010
UC users only

Smallwood, Christine.
"Frederick Wiseman." Nation, 1/11/2010, Vol. 290 Issue 2, p30-30, 1p
UC users only

High School/High School II

Bromwich, David.
"High School II." (television program reviews) New Republic v211, n12-13 (Sept 19, 1994):39 (5 pages).

James, Caryn.
"High School." (movie reviews) New York Times v143 (Wed, July 6, 1994):B4(N), C14(L), col 1, 14 col in.

Klawans, Stuart.
"High School II." (movie reviews) Nation v259, n4 (July 25, 1994):136 (2 pages).

Leonard, John.
"High School II." (movie reviews) New York v27, n35 (Sept 5, 1994):49 (1 page).

Lewis, Jon
"The shifting camera point of view and 'model of language' in Wiseman's high school." Quarterly Review of Film and Video, Volume 7 Issue 1 1982
UC users only

Lucia, Cynthia.
"Revisiting High School: An Interview with Frederick Wiseman." Cineaste v20, n4 (Oct, 1994):5 (7 pages).

Model

Armstrong, Dan; Benson, Thomas
"The cultural world of Frederick Wiseman's" Model." The Journal of Film and Video, 1984

Armstrong, Dan
"Wiseman's Model and the Documentary Project: Towards a Radical Film Practice." Film Quarterly Vol. 37, No. 2 (Winter, 1983-1984), pp. 2-10
UC users only

Benson, Thomas W.
"The Rhetorical Structure of Frederick Wiseman's Model." Journal of Film and Video,Vol. 36, No. 4, DOCUMENTARY FILMAKING (Fall 1984), pp. 30-40
UC users only

Multi-handicapped

Snyder, Sharon; Mitchell, David.
"The Visual Foucauldian: Institutional Coercion and Surveillance in Frederick Wiseman's Multi-handicapped Documentary Series." Journal of Medical Humanities, Winter2003, Vol. 24 Issue 3/4, p291-308, 18p
UC users only

Primate

Benson, Thomas W.
"The Rhetorical Structure of Frederick Wiseman's "Primate"." Quarterly Journal of Speech 71:2 (1985:May) p.204

Public Housing

Bradford, Jonathan.
"Public Housing." (television program reviews) Christian Century v114, n34 (Dec 3, 1997):1132 (3 pages).

Eisner, Ken.
"Public Housing." (movie reviews) Variety v369, n5 (Dec 8, 1997):113 (1 page).

Goodman, Walter.
"Public Housing." (television program reviews) New York Times v147 (Mon, Dec 1, 1997):B3(N), E7(L), col 5, 12 col in.

Leonard, John.
"Public Housing." (television program reviews) New York v30, n46 (Dec 1, 1997):124 (2 pages).

Maslin, Janet.
"Public Housing." (movie reviews) New York Times v147 (Wed, March 25, 1998):E5(L), col 4, 12 col in.

Phillips, Barbara D.
"Public Housing." (television program reviews) Wall Street Journal, n239 (Mon, Dec 1, 1997):A20(W), A20(E), col 1, 22 col in.

Vineberg, Steve
"In familiar corridors, an American vision of despair." ('High School,' television program by Frederick Wiseman on PBS)(Review) The New York Times August 26, 2001 s0 pAR23(N) pAR23(L) col 1 (30 col in)

Titicut Follies

Anderson, Carolyn
Documentary dilemmas : Frederick Wiseman's Titicut Follies / Carolyn Anderson and Thomas W. Benson. Carbondale : Southern Illinois University Press, c1991.
Main (Gardner) Stacks PN1997.T553 A54 1989
Contents via Google books

Anderson, Carolyn; Benson, Thomas W.
"Direct Cinema and the Myth of Informed Consent: The Case of Titicut Follies." In: Image ethics : the moral rights of subjects in photographs, film, and television / edited by Larry Gross, John Katz, Jay Ruby. New York : Oxford University Press, 1988.
Moffitt KF1263.U5 I451 1988
NRLF (UCB) KF1263.U5 I451 1988

Armstrong, Dan
"Wiseman's Realm of Transgression: "Titicut Follies," the Symbolic Father, and the Spectacle of Confinement." Cinema Journal Vol. 29, No. 1 (Autumn, 1989), pp. 20-35
UC users only

Atkins, Thomas R.
"Frederick Wiseman's America: Titicut Follies to Primate." In: In The Documentary Tradition / edited by Lewis Jacobs. pp. 536-550. 2nd ed. New York: Norton, 1979
Main Stack PN1995.9.D6.J3 1979
Moffitt PN1995.9.D6.J3 1979

Canby, Vincent.
"Titicut Follies." (movie reviews) New York Times v141 (Thu, March 5, 1992):C21(L), col 3, 10 col in.

Colby, Ira.
"Titicut Follies Revisited.: Social Work, Sep92, Vol. 37 Issue 5, p389-390, 2p
UC users only

Duerfahrd, Lance
"Discovering the Shock of Frederick Wiseman's Titicut Follies." p.o.v: A Danish Journal of Film Studies, vol. 22, pp. 60-69, Dec 2006

Grant, Barry K.
"Ethnography in the First Person: Frederick Wiseman's Titicut Follies." In: Documenting the Documentary: Close Readings of Documentary Film and Video / Wayne State University Press, c1998.
Main Stack PN1995.9.D6D58 1998
Moffitt PN1995.9.D6D58 1998

Goodman, Walter.
"Titicut Follies." (television program reviews) New York Times v142 (Tue, April 6, 1993):B1(N), C13(L), col 1, 13 col in.

Holtman, Janet
"Documentary prison films and the production of disciplinary institutional 'truth'" Postmodern Culture; September, 2002, Vol. 13 Issue 1
UC users only

Howard, Gregory J.
"Titicut Follies: A Review." Journal of Criminal Justice and Popular Culture, 1(1) (1993) 2-4
UC users only

Meksin, Anya
'Riefenstahl's Heights and Wiseman's Follies: Allegories of Flesh in Olympia and Titicut Follies." Bright Lights Film Journal, vol. 50, pp. (no pagination), Nov 2005

Miller, Toby.
"Historical citizenship and the Fremantle prison follies: Frederick Wiseman comes to Western Australia." Continuum, 1994, Vol. 7 Issue 2, p269-289, 21p
UC users only

Mills, David.
"Mass. court lifts ban on 24-year-old film; privacy right overruled for Wiseman's 'Titicut.'" ("Titicut Follies"; Massachusetts Superior Court; Frederick Wiseman) Washington Post v114 (Fri, August 2, 1991):B2, col 1, 21 col in.

Price, Michael
"Titicut Follies." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema.

Smith, Jillian
"The politics of tactility: Walter Benjamin materialized by way of Frederick Wiseman's Titicut Follies." Studies in Documentary Film Volume: 2 | Issue: 2 2008/2009
UC users only

Sterritt, David.
"Banned in the 1960s a tough documentary opens commercially." ("Titicut Follies" confronts us with institutional conditions for the criminally insane) Christian Science Monitor v83, n228 (Mon, Oct 21, 1991):11, col 2, 18 col in.

Taylor, Charles.
"Titicut Follies." (film about the Bridgewater State Hospital for the criminally insane, banned since 1968) Sight and Sound v57, n2 (Spr, 1988):98 (6 pages).

"Titicut Follies" (motion picture review), Cinema Journal, v. 29 (Fall '89) p. 20-35.

"The "Titicut Follies" Case: Limiting the Public Interest Privilege." Columbia Law Review Vol. 70, No. 2 (Feb., 1970), pp. 359-371
UC users only

Basil Wright

Jayamanne, Laleen.
"Speaking of 'Ceylon,' a Clash of Cultures." In: Questions of Third Cinema / edited by Jim Pines and Paul Willemen. pp: 150-69. London: BFI Pub., 1989.
UCB Main PN1993.5.D44 Q479 1989 UCB Moffitt PN1993.5.D44 Q479 1989

Mareth, Paul; Bloom, Alan.
"Basil Wright: An Interview." Film & History , Dec1980, Vol. 10 Issue 4, p73-82, 10p; (AN 16862129)
UC users only

Smith, Jillian
"The politics of tactility: Walter Benjamin materialized by way of Frederick Wiseman's Titicut Follies." Studies in Documentary Film Volume 2 Number 2 2008
UC users only

Szasz, Thomas.
"The Titicut Follies: the forgotten story of a case of psychiatric censorship." History of Psychiatry, Mar2007, Vol. 18 Issue 1, p123-125, 3p

Wright, Basic.
"The Documentary Dilemma." Hollywood Quarterly, Vol. 5, No. 4 (Summer, 1951), pp. 321-325
UC users only

Wright, Basic.
Essays on Film. In The Documentary Film Movement: An Anthology / edited and introduced by Ian Aitken. pp: 237-253 Edinburgh: Edinburgh University Press, c1998.
Main Stack PN1995.9.D6.D56 1998

Wright, Basil.
The Long View / [by] Basil Wright. London: Secker & Warburg, 1974.
UCB Main PN1993.5.A1 W741; UCB Moffitt PN1993.5.A1 W74

Wright, Basil.
"New Vistas for the Film in Britain," The Public Opinion Quarterly, Vol. 8, No. 4 (Winter, 1944-1945), pp. 544-550
UC users only

Wright, Basil.
The Use of the Film / Basil Wright. London: Bodley Head, 1948.
NRLF B 3 567 539

Welfare

Armstrong, Dan.
"Wiseman's Cinema of the Absurd: Welfare, or 'Waiting for the Dole'." Film Criticism, vol. 12 no. 3. 1988 Spring. pp: 2-19.
UC users only

Terry Zwigoff

Bowman, James.
"Crumb and Crummier." (motion picture reviews) American Spectator v28, n8 (August, 1995):60 (2 pages).

Corliss, Richard.
"Crumb." (movie reviews) Time v145, n18 (May 1, 1995):85.

Denby, David.
"Crumb." (movie reviews) New York v28, n18 (May 1, 1995):65.

Eaton, Michael.
"Drawing It Out." (criticism of documentary about comic-book artist Robert Crumb) Sight and Sound v5, n7 (July, 1995):34 (2 pages).

Feaster, Felicia.
"Crumb." (movie reviews) Film Quarterly v49, n2 (Winter, 1995):45 (3 pages).

Holden, Stephen.
"Crumb." (movie reviews) New York Times v144 (Tue, Sept 27, 1994):B2(N), C16(L), col 4, 19 col in.

Johnson, Ken.
"Crumb." (movie reviews) Art in America v83, n10 (Oct, 1995):55 (2 pages).

Kauffmann, Stanley.
"Crumb." (movie reviews) New Republic v212, n19 (May 8, 1995):26.

Klawans, Stuart.
"Crumb." (movie reviews) Nation v260, n20 (May 22, 1995):733 (5 pages).

Kroll, Jack.
"Crumb." (movie reviews) Newsweek v125, n17 (April 24, 1995):64.

McCarthy, Todd.
"Crumb." (movie reviews) Variety v356, n8 (Sept 19, 1994):79 (2 pages).

Phelps, Donald.
"Crumb of Discomfort." (documentary of cartoonist Robert Crumb) Film Comment v31, n4 (July-August, 1995):84 (2 pages).

Rafferty, Terrence.
"Crumb." (movie reviews) New Yorker v71, n10 (May 1, 1995):91 (3 pages).

Romney, Jonathan.
"Crumb." (movie reviews) Sight and Sound v5, n7 (July, 1995):44.

Sragow, Michael.
"The Man Behind the Man in 'Crumb.'" (film maker Terry Zwigoff's film about underground cartoon artist Robert Crumb) New York Times v144, sec2 (Sun, April 23, 1995):H13(N), H13(L), col 2, 34 col in.

Travers, Peter.
"Crumb." (movie reviews) Rolling Stone, n707 (May 4, 1995):76 (2 pages).




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